Show Me A Sane Man S
by Rhea's Teleplays
Summary: What should have been a simple pysch eval to let Nick return to work suddenly becomes a fight to keep his freedom and sanity. Is he losing his mind, or is his paranoia anchored in reality?
1. Act One

C.S.I. CRIME SCENE INVESTIGATION

"Show Me A Sane Man"

ACT ONE

_Author's Note: There was simply too much to trim to an hour show, which, unfortuantely, makes this one unmarketable. But that is why we have fanfiction DOT net, huh?? Enjoy._

FADE IN:

EXT. LAKE MEAD RECREATION AREA - NIGHT

Jim **BRASS** pulls into a parking lot. The parking lot is bordered with squad cars, the coroner's van, one CSI vehicle, and a flatbed tow truck. Dozens of people are milling around, including a couple divers, firefighters, Assistant M.E. **David**, and another M.E.

**CATHERINE**, and **LANGSTON** stand back, watching a helicopter lower a car to the tarmac. The spot is illuminated by generator-powered work lights. Brass gets out and joins them.

The car is a pale blue 80's style 4-door car. Plants from the lake bottom hang from the tires and undercarriage. Water is draining from it. As soon as the car is down, men release it from the straps holding it, and the helicopter flies off.

Firefighters use the jaws of life to open the front and back doors. David and the other M.E. Move in while they work on the other side.

BRASS  
That car looks a lot like--

CATHERINE  
The car Nick said Miranda described.  
No license plate though.

BRASS  
I'll have them check the VIN.

Two bloated bodies are removed from the car onto tarps. Their water grave has not been kind to them. It's hard to tell much about their facial features. Catherine looks back when headlights flash across the crowd, seeing another CSI vehicle pulling up at the back.

DAVID  
Catherine.

The CSI and Brass join him.

DAVID  
You are never going to guess who this is.

He smiles up at her, holding it open for her. She pulls on gloves and takes it. Catherine swipes her finger across the driver's license to clear dirty water off it.

Langston and Brass both look over her arm at it. She is between relieved and happy to see the face.

CATHERINE  
Nate Hutchins. We've been looking for you.

BRASS  
I'd bet that other fella is Hugh.

Catherine nods.

Langston looks over his shoulder. **NICK** is at the second CSI vehicle, checking his kit before leaving with it.

LANGSTON  
I think you should give this to Nick.

Catherine looks back at Nick.

CATHERINE  
I was thinking that exact thing. I'll  
let him know. Meet you back at the Denali.

Catherine heads toward Nick, Langston goes back to their vehicle. Catherine stops next to Nick.

CATHERINE  
How are you fellas tonight?

Warrick pops up behind her, smiling. Nick glances at him, then her.

NICK  
We're good. Glad to be working, that's  
for sure.

He closes the door.

NICK  
What do we have?

CATHERINE  
A couple of fishermen found a car on  
their fish sonar. Divers found two  
bodies inside.  
(holds up the license)  
Look familiar?

Nick almost grabs the wallet bare handed. He drops his kit, pulls on gloves, and takes it.

NICK  
That's Nate.

CATHERINE  
Yeah. This one is all yours, Nicky.  
Think of how good it'll feel to tack  
on a life or two to Julia and Jeff's  
sentence.

Nick laughs, nodding.

NICK  
It'll feel pretty damned good.

CATHERINE  
Now remember, one, you do not talk to  
Warrick, ever, at a crime scene. Not  
even if you think you're alone.

NICK  
Yes, ma'am.

CATHERINE  
Second, a CSI 1 has to--

CATHERINE AND NICK  
Keep the supervisor informed on all  
processes, review all findings, and  
copy all communications.

She smiles when he chuckles.

NICK  
Been demoted three days and you've  
already drilled it into my head.

She pats his shoulder.

CATHERINE  
And keep an officer with you at all  
times. Have a safe night.

She walks away. Nick starts toward the car.

WARRICK  
I am going to really enjoy this crime  
scene. Course, any crime scene that  
adds years to Julia and Jeff's  
sentence is enjoyable.

NICK  
(whisper)  
Damn straight.

WARRICK  
But you really need to hurry up. I  
want cake.

Nick just smiles. He stops next to David and goes to work.

DAVID  
Did you ever think you'd be here?  
After all the stuff Julia put you  
through?

Nick shakes his head, looking at the driver's license

FADE TO:

INT. JULIA'S OFFICE - RECEPTION AREA - DAY

Everyone's waited in a place like this. Starkly lit, receptionist half hidden behind a counter, uncomfortable connected chairs and magazines scattered on a center table.

There's a potted plant in one coroner and cheesy motivational posters around the room.

Nick enters, stopping at the front desk to sign in. He turns, looking at Nate Hutchins as he walks past. The man is reading a thin book and doesn't look up. Nick sits down and picks up a magazine, flipping through it.

MIRANDA (o.S.)  
That's just the way it has to happen.  
Can't be helped..

Nick looks over the top of his magazine at her.

**MIRANDA** sits diagonal to him, rocking in her chair and playing with a lock of hair. She's a paranoid schizophrenic who has been off her meds a little too long. Warrick sits next to her, whispering to her.

Nick shifts in his chair, glancing at Nate. He looks to his right at Hugh Kallen. Hugh's snarling expression would be menacing if he weren't wearing a suit, dress shirt, and tie. The door to an office opens and **JULIA** Green steps out.

JULIA  
Nicholas Stokes?

Nick drops his magazine on the table as he stands. He slips past Miranda, glancing at Warrick. Miranda watches Warrick, not Nick, leave. He gives her a smile and a wink.

The two go into the office and the door is closed.

INT. JULIA'S OFFICE - DAY

This office feels more like a prison cell. There's a metal desk with a desk chair and laptop on it. In front of it is a comfortable looking wingback chair with a notepad and pens sitting on it.

The other chair in the room is an uncomfortable plastic chair. Julia motions to the plastic chair as she passes in front of Nick. She picks up her notepad and pen, and sits in the wingback chair. Nick sits in the uncomfortable chair.

JULIA  
I am Julia Green. You will call me  
Doctor Green.

She leans out, extending her hand. He's a little put off by the introduction, but musters a smile and hand shake.

NICK  
Pleased to meet you, ma'am.

JULIA  
Have we met before? You look familiar.

Warrick walks between them, sitting in the desk chair. Nick stays focused on Julia.

NICK  
You might have done an eval on a case  
I was working or something. You are a  
police shrink.

JULIA  
I don't appreciate being called a  
shrink. May I call you Nick?

Her smile doesn't erase the bitter tone. Nick almost comes back with a snarling remark.

WARRICK  
Relax, Nick. This has to happen.

Nick calms down.

NICK  
Sure.

She settles back in her chair.

JULIA  
This will be a two day evaluation  
where I will determine if you are  
mentally capable of returning to duty  
following an attempt to strike a  
supervisor. I understand you're seeing  
a therapist outside of the department.

NICK  
I am.

JULIA  
I'll need you to sign a form to release  
your session notes to me.

WARRICK  
Maybe when hell freezes!

NICK  
No way.

JULIA  
Excuse me?

NICK  
This is an evaluation. You don't need  
any of that.

JULIA  
(snarky)  
I'm the psychiatrist, I'll determine  
what I need.

WARRICK  
I think we just found her button.

Nick glances at his dead friend, draws a breath and attempts to make peace.

NICK  
I tell you what. I'll give you Greta's  
phone number. I trust her judgment so  
if she's comfortable with releasing  
the notes, we'll do that. Is that a  
fair trade?

JULIA  
It sounds like you don't trust me.

Warrick appears behind Julia.

WARRICK  
You've got our bitch radar going off,  
lady. I'd tell Nick to walk, but he can't.

NICK  
I'm not trying to insult you or  
anything, but this seems a little out  
of sorts for a psychiatric  
evaluation. If you'd just--

JULIA  
This isn't going to help your evaluation.

NICK  
What?

JULIA  
Not having that information means I  
have to start from scratch. This will  
take four weeks instead of two days,  
and during that time I'm recommending  
you be suspended. That way we can  
focus on you.

NICK  
I don't want to focus on me, Doctor  
Green. I want to get back to work.

Julia doesn't offer a compromise or any indication she's changing her mind. Nick lifts a finger, prepared to lay into her.

WARRICK  
Easy, Nicky. This has to happen. Take  
a deep breath and roll with it.

Nick runs his hand through his hair and drops it.

NICK  
Guess we'll get to know each other  
real well for the next four weeks.

JULIA  
Very well. Let's get started.

Warrick walks between them, going back to the desk chair.

JULIA  
What was your childhood like?

Nick sighs and prepares to talk about bygone days.

FADE OUT.

END OF ACT ONE


	2. Act Two

ACT TWO

FADE IN:

INT. CATHERINE'S OFFICE - NIGHT

Nick sits in one of two chairs in front of Catherine's desk, waiting for something. He looks up when the door flies open. Catherine stands in the door with papers clutched in her tight fist.

CATHERINE  
What did you do?

It's hard to tell if she's angry or frustrated.

NICK  
Nothing! I didn't do anything, Catherine!

CATHERINE  
How did this two day evaluation  
suddenly become four weeks? And why  
is she recommending we suspend you  
_without pay_? Did you tell her about  
Warrick?

NICK  
I wouldn't tell that woman if my arm  
was cut off! She got miffed when I  
refused to sign a release for her to  
get Greta's therapy notes.

Catherine sits in her desk chair, dropping the papers on the desk. Warrick walks in from behind Nick and sits in the open chair next to him.

CATHERINE  
That's not a normal thing to ask for  
during a psychiatric evaluation. You  
didn't agree, did you?

NICK  
No.

CATHERINE  
And nothing else happened?

WARRICK  
You did call her a shrink. She didn't  
like that.

Nick frowns at him.

NICK  
There is nothing wrong with calling  
someone a shrink.

WARRICK  
She didn't like it.

NICK  
So I should be suspended without pay  
for calling her a shrink?

CATHERINE  
NICK!

They both look at her.

CATHERINE  
What's the rule, Nick?

Nick doesn't answer.

CATHERINE  
The rule.

NICK  
I'm not allowed to talk to Warrick,  
when I'm at work. Ever.

Warrick laughs at Nick.

WARRICK  
You are so whipped!

NICK  
I'm sorry about all this, Catherine.

CATHERINE  
It's not your fault, but Ecklie doesn't  
want any red flags so I have to sign this.

Nick is so frustrated he could scream.

NICK  
All this for one piece of paper that  
says I won't go postal on the job!  
Greg's great plan to keep me off the  
stand for a few months is backfiring  
in the biggest way, Catherine!

CATHERINE  
Don't be hard on him, Nick. He feels  
terrible but none of us expected  
everything that's happened to happen.

WARRICK  
I just had to happen. Just the way it is.

NICK  
What the hell does that mean!?

Warrick looks at him.

NICK  
You have been saying that for a week  
now! What does that even mean?

CATHERINE  
Nick, the rule.

NICK  
(to Catherine)  
I can't deal with this anymore!

Nick jumps up but Catherine cuts him off before he reaches the door.

CATHERINE  
Nick, relax. You have been through  
worse and you've pulled through. This  
will all be over soon.

NICK  
I am tired, Catherine! I jump at  
shadows! I'm always looking over my  
shoulder! And, to make this worse, our  
insurance won't cover Julia AND  
Greta, so I'm stuck with the psycho  
woman for a shrink. If even one more  
thing goes wrong, I will go crazy!

CATHERINE  
You've got me, Nicky. I listen just as  
good as Greta, and I'm free.

That wins her a slight smile. She rubs his arm.

CATHERINE  
Why don't you come over for supper  
tonight and meet Lindsay's new boyfriend,  
Chaz, who has more holes in him than  
Swiss cheese.

NICK  
Okay. See you later.

Nick leaves. Catherine sits down at her desk, staring at the paper. With a heavy sigh, she scrawls her name on them.

Omitted

INT. JULIA'S OFFICE - DAY

Nick enters the room and Julia shuts the door. Warrick walks right through the door. Julia goes to her desk, but Nick stops short, staring at the video camera. It's sat up so it can view both chairs. Warrick walks over to it, looking it over. He and Nick exchange a confused look.

NICK  
Why is there a camera in here?

JULIA  
I'm videotaping sessions from now on.  
Have a seat.

NICK  
You have to get my permission to  
videotape sessions.

JULIA  
No. I don't. Sit down.

NICK  
I'm pretty sure that--

JULIA  
Fine. I'll leave it off, and add  
another two weeks. Fair trade?

Warrick suddenly appears behind her.

WARRICK  
This lady is a piece of work!

NICK  
No. Not really, but you apparently  
don't give a damned about the law.

Nick walks over and flops into the uncomfortable 'patient' chair. She starts the camera and sits in her chair.

JULIA  
You look tired.

NICK  
(biting)  
That's cuz my sleep is all messed up.  
Normally, I'd be in bed right now. But  
you don't have afternoon appointments. Ever.

JULIA  
It's called shift work sleep disorder.

NICK  
Don't go give me disorders I don't  
have. Once this is over, I'll be fine,  
back to my regular schedule.

JULIA  
You're very defensive today. Why  
is that?

He slouches in his chair.

NICK  
Just, let's just go. What do you want  
to interrogate me about today?

She gets up and walks to her desk, writing something down. Warrick follows her, watching what she's writing.

JULIA  
After our session today, I'll call in  
a prescription at Al's Market down the  
street. It's an anti-psychotic that  
should help you sleep.

Nick almost looks up at Warrick.

NICK  
I don't need anything.

JULIA  
Your moodiness says otherwise. You  
need sleep.

NICK  
I need sleep, huh? Then why are you  
giving me an anti-psychotic?

JULIA  
It's non-habit forming and contains a  
mild sedative. I don't think you need  
anything stronger. Do you?

WARRICK  
We don't need an anti-psychotic,  
Nick. Something smells really fishy  
here. This you should fight, Nick.

JULIA  
Do you, Nick?

NICK  
No. I'm good.

She returns to her chair and settles in.

JULIA  
Let's get started, shall we?

Warrick falls into her desk chair.

WARRICK  
I wish I could say you had a choice,  
Nicky, but you don't.

Nick stays focused on her.

EXT. FRANK'S DINER - DAY

Riley, Greg, and Nick head around the corner of the diner. Riley and Nick are in a slug war and laughing, and Greg is the first to see it.

Nick's pickup is parallel parked down the street and has been vandalized. From this distance Greg can see the taillights and windows are broken out, and the passenger side mirror is hanging from the door.

GREG  
Nick.

Nick doesn't look up. He's laughing with Riley.

NICK  
Yeah?

Greg grabs his arm, pulling him to a stop. Nick looks at him, then down the street. His humor vanishes.

NICK  
WHAT THE HELL!?

Riley and Greg hang back as Nick storms up to his vehicle. Along the sides are deep grooves most likely made by keys. Nick walks around the vehicle to the street side. The headlights are busted out, the driver's side mirror is completely knocked off.

There are two huge dents on the side. Gold paint from the car that hit has transferred onto the pickup.

Nick puts his hands on the back of his neck, backing dangerously close to the traffic. Warrick appears behind him.

WARRICK  
Wow. Someone really hates us.

Riley and Greg stop on the sidewalk next to the pickup. Riley steps closer to it, looking inside.

RILEY  
Nick?

NICK  
Yeah?

RILEY  
Have you cheated on your girlfriend?

NICK  
I don't have a girlfriend. Why?

She points inside the pickup.

RILEY  
Cheater is cut into the seats, the  
floor, the dash, the ceiling.

Nick moves closer so he can see.

RILEY  
And there's a screwdriver jammed into your  
radio and another in the ignition.

Nick looks at the hood, noticing it's not closed all the way. He rushes around to the front and throws the hood up.

The battery, distributor cap, and cover for the air filter are missing. There's sand poured into the air filter, a dark liquid poured into the distributor. The spark plugs cables are pulled and every spark plug has been broken off.

The radiator has several large holes in it. Riley slowly walks around to join him. She lays her hand on his shoulder.

RILEY  
Greg went to see if any of the officers  
in there are on duty. He'll call it in  
if they aren't. I'm so sorry, Nick.  
You are having the worst luck lately,  
aren't you?

Nick's eyes get watery. How much more bad luck can one man take?

Riley puts her arm around Nick's shoulders to comfort him.

WARRICK  
Deep breath, man. This has to happen.

Nick shoots Warrick daggers. Being in public is the only reason he's not blowing up.

EXT. LAS VEGAS BLVD - DAY

Brass stops his car up behind a squad car and across the street from The Mirage. The street is crowded with people -- locals and tourists. Only a few passersby give the squad car so much as a glance.

Officer **JEREMY** Powell stands next to the back of the car. He gets out of his car and walks up to Jeremy. They exchange nods.

BRASS  
Dispatch said you asked for me. What's  
going on, Jeremy?

Jeremy shakes his head a couple times before he starts talking.

JEREMY  
I couldn't reach Ecklie or Catherine.  
You were the only other person I could  
think to take him home. I've never  
known him to get drunk or stoned, or  
high, but Jim, he's--

BRASS  
He who?

Jeremy steps back and opens the back door. As Nick comes out, he answers:

JEREMY  
Stokes.

Nick is way too happy and can't walk straight. He throws his arms around Brass.

NICK  
JIM! Hey, man!

Jim looks at Jeremy over Nick's shoulder.

BRASS  
Where did he come from?

Nick stands up, answering.

NICK  
My mom!

JEREMY  
He was bounced from The Mirage. They  
said he was counting cards.

Brass looks at Nick. He's trying to strike up a conversation with a passing woman and scaring her. Brass grabs the back of his shirt and aims him toward his car.

BRASS  
Thanks, Jeremy. I got it from here.

NICK  
Are we leaving?

BRASS  
Yes.

NICK  
Let's get cake!

Brass tries not to smile, but he can't help it. He opens the door.

BRASS  
Get in.

Nick pulls back, not about to get in another car.

NICK  
I want to play poker.

BRASS  
Get in the car, and we'll get cake.

That convinces Nick to get in. Jim gets in and pulls into traffic. He focuses on the cars around him.

Nick turns, looking at the back seat. Warrick is in the back eating a huge piece of chocolate cake.

NICK  
(to Warrick)  
Where did you get cake?

Jim glances at him.

WARRICK  
We were on a roll in there, man.

NICK  
I know! I can't believe they thought I  
was cheating because you and I were talking.

BRASS  
Nick, who are you talking to?

NICK  
Warrick. He's got cake.

Brass almost hits a car stopped for a red light. He pulls over as fast as he can and stares at Nick.

WARRICK  
I told you not to talk to me in there.

NICK  
We were just better than the house,  
that's all. They were sore losers.

Nick falls back in his seat, poking at the ceiling.

NICK  
House didn't win today!

Warrick stops eating.

WARRICK  
They bounced us, and we lost half our  
chips. I think they won.

NICK  
I guess if you look at it like  
that. Brass--

Nick looks at him, seeing how concerned he is for the first time.

NICK  
You okay? You look sick.

BRASS  
You're talking to Warrick?

NICK  
Yeah. We talk all the time.

BRASS  
Since when?

NICK  
Since I nearly got my head bashed in  
the tunnels. I came to, and there he  
was. Been around ever since.

WARRICK  
You probably shouldn't be telling him  
this, Nick.

NICK  
Why not? It's Jim. He's cool with it.  
You're cool with it, right, Jim?

BRASS  
You're seeing him now? In the back  
seat eating cake?

NICK  
Yeah. He won't share his cake though.  
That's not real nice, but what'cha  
gonna do?

Brass looks down the road. Strangely, he's taking this very well. He pulls back into traffic. Nick and Warrick go back to talking.

INT. NICK'S BEDROOM - DAY

Aluminum foil is taped on the windows and blocks out most of the light in the room. Sunlight has found a few small holes. It's the perfect cave for someone who works graveyards. The clock next to the bed reads four in the afternoon.

Nick is in bed, on arm under him, one arm behind his back, and his face planted against his pillow. He's still in the clothes Brass picked him up in minus sneakers.

On the bedside table, his cell phone starts to ring. He wakes enough to answer it.

NICK  
Hem-oh?

He wets his lips while he waits for a response.

JULIA (on PHONE)  
(pissed off)  
Nick?

He closes his eyes tight and then pops them open. They droop half shut.

NICK  
Who is this?

JULIA (on PHONE)  
Doctor Green, Nick.

It takes him a second to realize the importance of the call.

NICK  
Why are you calling me?

JULIA (on PHONE)  
I work my schedule around so you can  
have an afternoon appointment and you  
are now a half hour late.

Nick sits up, looking at the bedroom door. He sees the ghost image of a man standing in it, but it's not Warrick. The image wisps away.

NICK  
I haven't been drinking. Your call  
woke me up.

He looks again. The illusion of a man standing there haunts him.

JULIA (on PHONE)  
(condescending)  
My call woke you up? Nick, missing an  
appointment isn't helping your case.  
Especially after what you said to me  
yesterday. I'm sorry, but out of  
concern for your safety, I released  
copies of yesterday's session to your  
supervisors. I hope they realize how  
disturbed you really are.

NICK  
I didn't see you yesterday. I didn't  
have an appointment.

JULIA (on PHONE)  
You didn't have an appointment, but  
you and your imaginary friend did show  
up demanding to talk to me. Not only  
were you extremely rude, but you were  
out of control.

NICK  
Wh-what friend?

JULIA (on PHONE)  
Warrick.

Nick looks around his room for the missing hallucination while she rattles on.

JULIA (on PHONE)  
Perhaps you're just as thoughtless as  
my other clients, thinking I have time  
to play your games. You're the fourth  
one that hasn't shown up for a session today.

Nick closes his eyes.

NICK  
Jul-- Doctor Green, I'm--

WARRICK  
Hang up the phone.

Nick opens his eyes. Warrick is right in front of him, leaning in.

WARRICK  
Tell her good-bye. Don't say anything else.

NICK  
Let's reschedule for--

JULIA (on PHONE)  
Tomorrow. Two pm. Be here this time or  
I'm sending your evaluation back  
stating you have no interest in  
completing it.

The phone is slammed down followed by the dial tone. Nick closes his phone.

NICK  
I really, really hate that woman.

He scratches the back of his neck, looking up at Warrick.

NICK  
What happened yesterday? I remember  
having breakfast with everyone, then  
I went out and found my truck was  
trashed. Greg waited while I took care  
of it, and then gave me a ride to pick  
up my meds and brought me home. And  
then... Nothing. I got nothing.

WARRICK  
Me too.

NICK  
You are not helping.

WARRICK  
Hey, I know what you know. Sorry.  
That's how this whole hallucination  
thing works.

NICK  
Right. Because you've never told me  
things I didn't know before.

Nick gets up and stretches his back. They both look out the door when someone bangs on the front door.

WARRICK  
Could be the mystery man.

NICK  
Thought you didn't know anything I didn't.

WARRICK  
I have a feeling we had a visitor  
yesterday, but... It's fuzzy. I can't  
remember details.

NICK  
You're a horrible hallucination.

The person bangs again.

CATHERINE  
(muffled)  
NICK!

Nick shuffles out of the bedroom.

INT. NICK'S HOUSE

Nick has cracked the door when Catherine pushes in. She has a VHS tape in hand and aims for his television.

NICK  
And a good afternoon to you too.

He follows her into the living room where she's fiddling with the VCR on his DVD/VCR combo. The tape has already disappeared into it.

Nick stops next two his recliner, watching her. Warrick stands against the far wall, also watching her.

CATHERINE  
Play this tape, Nick.

Nick picks up to remotes and works the controls. She moves back as the tape starts to play. A few seconds of black, and then Nick appears on screen, in Julia's office.

**INT. JULIA'S OFFICE - DAY (RE-ENACTMENT)**

**Nick wears a goofy grin. He looks like he's been rolling around on the ground — he has dirt on his clothes, his hair is sticking up, and his shirt is buttoned crooked. He slouches in the chair, unusually relaxed. **

**Julia isn't in the frame yet. Her body comes into view and she places her hand on the back of Nick's neck, tapping a finger against his neck a couple times. **

**Nick grins stupidly up at her.**

**NICK  
Hey, Doc.**

**Her heavy sigh is audible over the camera microphone. She disappears for a second, and then sits down in her chair.**

**JULIA  
So, what was so important you had to  
barge into my office and talk to me?**

**NICK  
Warrick and I went to the casino this  
morning, and he won big time! See?  
(shows roll of bills)  
We're going to--**

**JULIA  
You've never mentioned Warrick  
before. Who is he?**

**NICK  
Used to be a co-worker. He was on a  
roll! We just--**

**JULIA  
Is he your partner at work? Do you work together?**

**NICK  
We kinda of do.**

**JULIA  
Kind of do? I'm not sure I understand  
how he can still be working with you  
but he's not. Is he a real person?**

**NICK  
He was. But he got shot. He always  
says, 'can't take death serious,  
Nicky, or you'll go insane.' Huh buddy?**

**Nick looks at the empty desk chair. Julia glances in the same direction, then refocuses on Nick. **

**JULIA  
Warrick is here now?**

**NICK  
Yeah. He's sitting in your chair.  
Eating cake.**

**Julia glances at the chair.**

**JULIA  
How long have you seen Warrick?**

**NICK  
Since I was almost beat to death in the  
tunnels. He showed up and kept me from  
giving up. He's been around since,  
just hanging out. He helps me on the  
job sometimes too.**

**JULIA  
You allow him to help you with crime scenes?**

**NICK  
Oh yeah! He's just as good dead as he was alive.**

**JULIA  
You seem very relaxed for someone  
telling me they're seeing an  
hallucination. Have you taken  
recreational drugs or been drinking?**

**NICK  
Nope! I just took those  
anti-psychotics you prescribed.**

**JULIA  
Those don't cause behavior like this.  
What did you mix with them?**

**NICK  
Nothing.**

**JULIA  
Did you drink while you and Warrick  
were gambling?**

**Nick thinks hard on it, then grins.**

**NICK  
I dunno.**

**JULIA  
What's the last thing you remember  
before the casino?**

**He thinks hard again.**

**NICK  
I dunno!**

**Nick starts laughing. He is sooooo trashed.**

**JULIA  
I can see we aren't going to get  
anywhere with you in this state. When  
you come back, we'll have to discuss  
Warrick some more. I think it's best  
if you go home and sleep off... This.  
Whatever this is.**

**NICK  
I can't go home. The cab left.**

**JULIA  
I'll call you another cab.**

**She goes to her desk and starts rifling through a phone book.**

**NICK  
You really hate me, don't you, Julia?**

**JULIA  
I don't hate you, I just don't  
appreciate this behavior.**

**NICK  
Maybe you should get laid. Then you  
wouldn't be such a bitch.**

**Julia slams the phone down. She storms up to Nick. **

**JULIA  
Get out!**

**NICK  
(whiny)  
What about the cab?**

**JULIA  
OUT!**

**Nick leaves the room. They hear her fiddling with the camera and then the taping stops.**

**BACK TO SCENE**

He can't tear his eyes off the screen even after the images have disappeared. Catherine pulls the remote from his hand and stops the tape.

CATHERINE  
Nick?

He doesn't reply.

CATHERINE  
Talk to me, Nick. What happened?

Nick takes a couple steps, then stops. He is at a loss of what to do with this mess.

NICK  
She knows about Warrick. I am so  
screwed. I've screwed you guys too.

CATHERINE  
We're not jumping ship yet, Nick, but  
I have to know what happened yesterday.  
What did you take? You were acting  
like you were drunk or stoned or both.

Nick scratches the back of his neck.

NICK  
I don't know! I don't remember going  
to any casino or her office.

CATHERINE  
You mentioned anti-psychotics. I  
thought Greta and you agreed to handle  
Warrick without drugs. Why would you  
take them?

NICK  
At my last session with Julia, she  
asked about my sleep. It's been all  
messed up with this, so she prescribed  
anti-psychotics so I could get some sleep.

CATHERINE  
She prescribed an anti-psychotic for sleeplessness?

NICK  
I questioned it too. She said they  
were non-habit forming and I didn't  
need anything stronger.

He scratches his neck.

CATHERINE  
Ecklie is furious with you.

WARRICK  
I'm on that bandwagon.

Nick glares up at him.

NICK  
_You_ go me into this mess!  
What are _you_ furious about?

WARRICK  
I got you into this mess? I wasn't even  
there yesterday!

NICK  
Then who the hell was I talking to in  
the empty chair? A ghost?

WARRICK  
There's such irony in that question.

CATHERINE  
Nick, I need you to focus.

He turns his back on Warrick.

CATHERINE  
Let's sit down and you tell me  
everything you can remember, starting  
at Frank's. And then I'm going to take  
a couple of those pills back for Henry  
to test.

Nick sits down with her.

NICK  
I'm so sorry about this, Catherine.

Warrick sits down in the middle of the coffee table, not disturbing anything on it.

CATHERINE  
It's going to be okay. Mysteries are  
our specialty.

WARRICK  
Mysteries-R-Us.

Nick smiles a little, glancing at him. Catherine touches his hand and he looks at her.

CATHERINE  
Focus. Tell me what you do remember.

FADE OUT.

END OF ACT TWO


	3. Act Three

ACT THREE

FADE IN:

INT. GRISSOM'S OLD OFFICE - NIGHT

Greg comes in with several case files and goes to his desk. He sets them down, noticing a case file sitting on his desk with three small evidence bags clipped to it. There's a sticky note attached to the case file:

**ON NOTE**

**Greg, found these on Nick's truck. The gold paint was too generic to identify a make or model. This was the only other trace I found. Ronnie**

**BACK TO SCENE**

Greg pulls off the envelopes and looks at each of them. There are a couple brown hairs, some fine gravel, and a bit of moss. He sets them and the case file aside, and starts working on his own case file. He'll learn only too late the evidence he's putting on low priority is critical.

INT. CSI - TOXOCOLOGY LAB - NIGHT

**HENRY** Andrews and Langston are discussing some results when Nick comes in. Both smile and he returns it. Warrick follows Nick in, looking over the lab.

LANGSTON  
Did you pass your evaluation?

NICK  
No. I came in to ask Archie for a  
favor. Thought I'd stop by and see if  
Henry found out anything about the  
pills the shrink prescribed me.

HENRY  
I did. Let me find it.

Nick leans over on a table, rolling his neck. He reaches back and scratches his neck. It draws Langston's attention. He suddenly grabs Nick's hand, pulling it away from the irritated bruise on the back of Nick's neck.

LANGSTON  
How did you get this bruise, Nick?

NICK  
There's a bruise?

Henry finds the report but patiently waits.

LANGSTON  
Yes. Henry, hand me a magnifying glass  
and a small scrape.

Henry brings the items and a test tube.

**CSI POV**

**There are three very small needle marks in the bruise, each with a powdery crust.**

**BACK TO SCENE**

NICK  
What is it?

Henry is trying to see what Langston is looking at.

LANGSTON  
You have a bruise on your neck that  
appears to be created from an injection  
in the same location. Are you on an  
intravenous treatment for something?  
For example chemo? Although... The  
neck is a strange place for an injection.

NICK  
I'm not on any treatment. Just taking  
anti-psychotic for sleep, that's it.

Langston scraps some of the crust into the tube.

LANGSTON  
Why are you taking an anti-psychotic  
for sleep?

NICK  
That's what the shrink gave me.

Langston hands it around to Nick. Nick lifts it up, but it means nothing to him. He hands it off to Henry.

HENRY  
If those are the pills Catherine gave  
me, they aren't anti-psychotics.

He grabs the results that he hands off to Nick. Langston reads over Nick's shoulder.

NICK  
It's Halcion? What's Halcion, Henry?

LANGSTON  
It's a hypnotic drug that contains  
triazolam. Henry, are you sure this  
dosage is right?

HENRY  
I tested it three times.

NICK  
What's wrong with the dosage?

LANGSTON  
Point five or above is considered  
unsafe, your pills are point four  
milligrams. That dosage shouldn't be  
given to anyone outside of a hospital  
or care facility. The side effects  
could be dangerous.

NICK  
Would side effects include loss of  
memory, doing things you don't  
recall, behaving like a complete ass?

LANGSTON  
It could. I take it that's what  
happened to you?

Nick nodded.

HENRY  
Maybe the pharmacy got it wrong.

NICK  
Maybe.

LANGSTON  
Why don't I draw some blood and see  
what we find?

NICK  
No. That's okay.

LANGSTON  
Nick, let me draw some blood. Henry  
can run it as a John Doe.

Nick looked up at Henry. He beams.

HENRY  
You've just become a John Doe. How's  
it feel to be anonymous?

It makes Nick laugh.

WARRICK  
This kid always made me laugh too.

NICK  
Fine. I'll give you vampires some  
blood. But make sure you tell  
Catherine about it.

LANGSTON  
I'll go get my kit. Be right back.

He leaves as **ARCHIE** comes in.

ARCHIE  
Nick, I ran all the city feeds we had.  
The face recognition didn't find you  
anywhere they were at. I could  
subpoena The Mirage tapes.

NICK  
No. You can't. This case doesn't  
exist, remember?

ARCHIE  
Right. Sorry. Ecklie knows you're in  
the building and he's on a head hunt.  
You might want to get out of here.

Archie leaves.

HENRY  
If you want, I could meet you at the  
pharmacy in the morning and we can  
talk to the pharmacist.

NICK  
You'd do that?

Henry nods.

NICK  
Thanks, Henry. I'd appreciate it.

HENRY  
See you at Al's Market at nine thirty.  
And if you go down the back stairs  
across the hall there, I'll tell Ray  
you're waiting for him in his office.  
Ecklie wouldn't think to look there.

Nick really smiles now.

NICK  
Thank you, Henry.

Henry nods, watching Nick hurry away.

INT. CATHERINE'S OFFICE - NIGHT

Catherine stares at the print out. She looks up at Ray and Henry.

CATHERINE  
Help me out here, guys. What is  
modafinil and why should it concern me  
that it's in Nick's blood?

LANGSTON  
Modafinil is a stimulant drug used to  
treated sleep_i_ness. It's present with  
triazolam, which is used to treat  
sleep_less_ness. Nick told me that  
yesterday he experienced memory loss  
and he was behaving strangely.

Catherine nods.

LANGSTON  
Mix an upper and downer like that, and  
Nick wouldn't have known if he was  
coming or going. He was not acting out  
on his own, Catherine.

CATHERINE  
That's a bit of good news.

HENRY  
Not really. Those results show that  
the triazolam was at a lower level of  
saturation than the modafinil. He'd  
had to have taken several doses of the  
modafinil for that to happen, the last  
being less than six hours before Ray  
drew his blood.

LANGSTON  
And I found needle marks with a  
power crust on over them on the  
back of his neck, a place he  
couldn't have injected himself.  
When Henry tested the powder, it  
came back as Modafinil, so we know  
how it was introduced into his system.

HENRY  
And that Nick didn't shoot up  
willingly. Someone intentionally  
drugged him.

Catherine picks up her desk phone and starts to dial a number.

CATHERINE  
Unfortunately, with all the people  
he's put away, that's a long list.  
Thanks guys.

Langston and Henry leave.

GREG (on PHONE)  
Hey Catherine.

CATHERINE  
I need you to do something for me.

GREG (on PHONE)  
Shoot.

CATHERINE  
See if you can retrace what Nick  
did from whenever you left him  
until four o'clock yesterday. And  
he said Archie already went through  
all the public video and found nothing.

GREG  
This has to do with the tape,  
doesn't it?

CATHERINE  
That, and Henry and Ray found a  
real interesting drug cocktail in  
his blood.

GREG (on PHONE)  
How interesting?

CATHERINE  
Someone drugged him. But we don't  
know who.

GREG (on PHONE)  
No one else knows about his  
imaginary friend, do they?

CATHERINE  
So far, no. He's going to try  
convincing Julia it was the drugs  
talking at their next appointment.  
I'm going to ask the medical board  
to review her license. Something  
about her isn't right.

GREG (on PHONE)  
I'm sorry, Catherine. This was  
supposed to be a simple, easy--

CATHERINE  
Greg. It's okay. None of us could  
have planned this.

GREG (on PHONE)  
I know, I'm just--

CATHERINE  
Greg. It is okay. Find Nick. Fix that.

GREG (on PHONE)  
Okay. Bye

They hang up.

INT. CSI - CONFERENCE ROOM - NIGHT

Greg has papers spread out on the table. He's checking phone records and jotting notes on a legal pad. Brass enters carrying a cup of coffee and plants himself at the end of the table.

BRASS  
How's it going Ace?

GREG  
Not as good as I'd hoped.

Brass turns his cup a couple of times.

BRASS  
I hear we have a problem with Nick.

GREG  
Yeah. I don't even know where to  
start that conversation. Apparently  
he was drugged the day before  
yesterday and he can't remember  
anything. There was some pretty  
hefty drugs in his system too.

BRASS  
Yesterday, about eleven in the  
morning, an officer had dispatch  
call me. He'd responded to a  
disturbance call at The Mirage.  
Nick got bounced for counting cards.

GREG  
At eleven?

Brass slowly nods.

BRASS  
I picked him up from the officer  
and dropped him off at home. I  
stayed until I was sure he was  
asleep. I left around two thirty.

Greg jots the information on his notepad.

BRASS  
I didn't tell you that to account  
for his whereabouts.

Greg looks up at him.

GREG  
Then... Why did you?

BRASS  
Nick was talking to Warrick from  
the time I picked him up until he  
passed out. He said he's been  
seeing him since the tunnels. But  
something tells me that this  
probably comes as no surprise to  
you or Catherine. Right?

Greg looks away, not admitting anything.

BRASS  
Better let you get back to work.  
Let me know if you need any police  
muscle for this. Have a good night, Ace.

Jim leaves the break room.

INT. OFFICE CORRIDOR - DAY

Nick and Warrick walk down the hall and enter a doorway.

INT. JULIA'S OFFICE - RECEPTION AREA - DAY

Nick enters, glancing at the empty chairs. He turns at the receptionist desk, signing the sheet.

NICK  
Where is everyone?

**ARLENE** looks up.

ARLENE  
I'm sorry?

NICK  
Where's the other people that are  
usually waiting?

Arlene shrugs, turning her attention back to her work. Nick turns and sits down. Warrick sits down a seat away from him.

WARRICK  
Something's off.

Nick doesn't respond. He looked up when Julia's office door opens and she stepped out.

JULIA  
(snarling)  
Nick.

INT. JULIA'S OFFICE

He goes in with her and sits down. She starts the camera and settles into her chair.

WARRICK  
Watch your back, Nick.

JULIA  
You seem more yourself today.

NICK  
Yes, ma'am.

JULIA  
Tell me. Do you give your regular therapist  
as hard of a time as you do me?

Warrick walks over and leans on her chair, glaring down at her.

WARRICK  
Greta isn't a complete cunt, so no,  
we reserve that treatment for  
really _special_ people.

NICK  
I'm sorry?

JULIA  
I'm under investigation now because  
of you. Because of that little stunt  
you pulled the day before, coming  
in here on drugs.

NICK  
Drugs you gave me.

JULIA  
I did not prescribe you triazolam  
or modafinil. Your supervisor may  
believe your lies, but I don't.  
Where did you get them?

NICK  
The triazolam was in the prescription  
bottle your pharmacy gave me with  
my name on it. I have no idea how  
the modafinil got in my system. I  
also don't know how I got a needle  
mark on the back of my neck.

JULIA  
Did the pharmacist say I called a  
prescription of triazolam in for you?  
I know you checked, he called me.

NICK  
No. He confirmed that, but he also  
wasn't the pharmacist I spoke to.  
When I described the one I did, he  
had no idea who was talking about. He  
said he was at lunch when I was there.

JULIA  
Perhaps you are an addict and were  
hallucinating that the pharmacist  
like you are your dead co-worker.

NICK  
Julia, I–

JULIA  
I spent years earning the title of  
doctor, Nick.

WARRICK  
Really? Because I think you got  
your degree from a cereal box.

Nick's not holding his temper in this time. She's pushed too hard and he's too tired and frustrated.

NICK  
Fine. Doctor Green, I am not an  
addict. I did not take any drug  
other than the ones in the bottle  
with my name on it that I picked up  
from the pharmacy you told me to go  
to. Now if we aren't going to do  
something productive in here today,  
then I think I should leave.

WARRICK  
Nick, calm down.

JULIA  
So I suppose you're going to tell  
me that the dead co-worker you were  
talking to was because of the drugs?

NICK  
Have you ever seen me talking to a  
dead co-worker any other time I've  
been here?

JULIA  
You're hiding something, Nick  
Stokes. Something that is a danger  
to yourself and to the people you  
work with. I'm recommending we extend  
this for another two weeks.

Nick springs to his feet.

WARRICK  
Nick, calm down, man.

NICK  
You are a piece of work, woman!  
Know that? How on earth did you  
ever get into this line of work?  
You are rude, you hate people, you  
hate me, and you don't want anyone  
to get better.

WARRICK  
Nick, take a breath! Calm down!

NICK  
You put people down, you push  
people around, if I didn't know  
better, I'd say you did all this  
just for fun! You are evil. That's  
the simplest way to put this.

JULIA  
So now you believe I'm the  
reincarnation of something evil?

NICK  
No. That's not even possible. I  
don't think there's anyone out  
there worse than you.

JULIA  
My other patients don't think so.

NICK  
Your other patients are probably  
too intimidated by you to do  
anything. But I'm not.

JULIA  
If you don't believe me, ask them.

NICK  
They aren't here.

JULIA  
You seem good at bending the law.  
Find them and ask.

WARRICK  
Don't walk out, man. Do. Not.  
Walk out.

NICK  
I will!

Nick storms out, slamming the door. Warrick is right behind.

I/E. SAVERS CAR RENTAL - DAY

A gold colored car pulls up in front of a small single story house between two newly built townhouses. Nick digs out a piece of paper from a pocket. It has two addresses in his handwriting on it, one the house he's at. He gets out of the car.

EXT. 1412 HACIENDA AVENUE - DAY

Nick walks up to the door. He reaches out to touch the doorbell and stops. The door is ajar, an abnormality even for this neighborhood. He fishes in his jacket pocket, takes out his gloves, and pulls them on. He pushes the door open, looking inside.

NICK  
Hugh?

No one answers.

NICK  
Herminie? Or George? Your door is  
open. Are you home?

There's no answer. Nick walks down the stairs and spots a narrow gate next to the house and sitting open. He goes into the empty backyard. He goes to the garage and tries the door. It won't open, but he can hear a car inside. He can't see through a window. He scales the fence into the alley.

EXT. HACIENDA ALLEY - DAY

Nick pulls open the garage door. Nick pulls it open and quickly falls back, coughing and wheezing a little. He stops and looks in the garage. The car in the garage is a tight fit; he couldn't squeeze in without disturbing the scene. He can see a body slumped over in the driver's seat, but can't see who it is. But he has a pretty good idea who it is. Warrick appears next to Nick, patting his shoulder.

WARRICK  
Do you really need to see inside to  
know that's Hugh?

NICK  
No.

WARRICK  
Better go call it in. Nothing you  
can do here.

Nick finds a way back over the fence and goes back out front.

I/E. SAVERS CAR RENTAL - DAY

Nick sits down in the front seat, reaching for the cup holder. His hand passes through air and he looks down.

NICK  
Where's my phone?

Nick leans over to search for his cell phone. He jerks suddenly.

NICK  
OW!

He grabs his leg as he turns and sits up. He looks up at the postman standing by his door. The man is Jeff **KATRICK**, a criminal Nick put away seven years ago, but he's disguised and Nick doesn't recognize him.

KATRICK  
Do you live here?

Nick's vision blurs for a few seconds. He wipes his hand over his brow.

NICK  
No. A friend of mine does. You look  
familiar.

KATRICK  
You don't look familiar to me.

Nick rubs his leg where it was stung.

NICK  
Do you have a phone on you?

KATRICK  
Yes.

Katrick doesn't get his phone. He's watching Nick. Waiting. Warrick appears beside Nick.

WARRICK  
Nick, drive. Get the hell out of here!

Nick yawns. He's fighting a losing battle against sleep.

WARRICK  
Nick, drive. Drive now.

Nick tries to focus on him before he falls asleep.

FADE OUT.

END OF ACT THREE


	4. Act Four

ACT FOUR

FADE IN:

I/E. GOLD FORD ESCORT - DAY

BRASS (O.S.)  
Nick?

Dark and light flash around him as Nick comes to.

BRASS (O.S.)  
Nicky, wake up.

WaRRICK (O.S.)  
Nick, come on man. Wake up.

STATE PATROLMAN (O.S.)  
Deep inhale, Nick.

He obeys.

STATE PATROLMAN (o.S.)  
Exhale, Nick.

Nick breathes out.

Peter (O.S.)  
We should just get him to the ambulance.  
He's probably too drunk to walk.

WaRRICK (O.S.)  
Drunk? We're not drunk.

Nick can make out blurry figures around him.

STATE PATROLMAN  
He's not drunk. Didn't even move  
the breathalyzer.

BRASS  
This damned psychiatrist put him on  
some meds and the side effects are  
being hard on him.

PETER  
Well it must be some good shit,  
because the guy that found him said  
he was talking to Warrick and he  
was still talking to him when I got  
here. Warrick's been dead for a  
year, Jim.

Nick's vision clears. He focuses on Brass, and paramedic **PETE**, and a **STATE PATROLMAN** behind them. He looks out the windshield. The glass is cracked but hasn't shattered. A telephone pole is smashed the right front panel into the engine block. He tries to bolt from the car but Brass and Peter stop him.

BRASS  
Easy. Easy, Nicholas.

NICK  
(freaked out)  
How the hell did I get here?

BRASS  
We were hoping you could answer. You  
haven't been drinking, have you?

Nick shakes his head.

NICK  
I don't even know how I got here. I  
remember being in Vegas, parked,  
and talking to a postman. That's  
the last thing I remember.

PETER  
Nick, you're starting to hyperventilate.  
You need to calm down, Nick.

WARRICK  
(sarcastic)  
Yeah. Calm down, Nick. By now, we  
should be used to finding ourselves  
in strange places with no memory of  
how we got there.

STATE PATROLMAN  
If he can walk to your car, Jim,  
you can take him to the hospital. I  
have to insist on a drug panel regardless  
of what he's prescribed.

Brass nods. He takes Nick's arm and helps him out. The two walk to his car and get in.

I/E. BRASS' CAR - DAY

The two don't talk for a while. Nick glances in the side mirror, seeing Warrick sitting in the back.

BRASS  
Are you really okay, Tex?

NICK  
I just wish I knew how I got there.  
Do you have any idea how scary it  
is to wake up with no memory of  
something like that?

BRASS  
I can imagine. Maybe you should stop taking the stuff she gave you.

Nick sighs, resting his head against the window.

BRASS  
Let me guess. You don't remember taking one.

NICK  
No.

BRASS  
Aw, Nick. That's not good. What do  
you remember?

NICK  
I went to talk to a patient that I  
always see in Julia's office. The  
front door of his house was open  
and there was a car running in the  
garage. I think he was in it.

BRASS  
And how did you get his address?

Nick lifts his head and smiles.

NICK  
Well, Jim, the phone company puts  
out these amazing things called  
phone books. They have people's  
names, address, phone numbers.

Brass chuckles.

BRASS  
All right, smart alec. I was just  
making sure you hadn't found him  
illegally, is all. Did you call it  
into the police?

NICK  
That's when things get lost. I went  
out to my car to get my cell and it  
wasn't in there. I turned around  
and this postman was there. I asked  
him if he could call the police and  
that's the very last thing I remember.

Brass thinks this over.

BRASS  
When you were talking to the postman  
is where your memories stop?

NICK  
Yeah.

BRASS  
Where's this place you were at?

Nick searches his pockets and finds the piece of paper. It now has three addresses on it and that confuses him, something Brass notices.

BRASS  
What's wrong?

NICK  
I could have sworn I only wrote  
down two addresses on this. I  
must've found Nate's after all.  
Weird. Anyway, the address is  
fourteen twelve Hacienda Avenue.

Brass places a call.

BRASS  
Yeah. Detective Brass. Have you  
received a call today for a fourteen  
twelve Hacienda Avenue? Can you  
double check for me? It would have  
been either under a welfare check  
or suspicious activity — there  
would have been a car running in  
the garage. Okay. Thanks.  
(hangs up)  
Nothing was reported. We'll check  
it out after the hospital.

NICK  
I swear I'm not making this up. I  
didn't take anything. I don't know  
how I got out there.

BRASS  
I believe you, but let's not start  
jumping procedure. Don't want someone  
taking a close look at you right  
now, not with everything that's  
been happening.

WaRRICK AND NICK  
Everything that's been happening?

BRASS  
The vindictive psychiatrist. That  
incident between you and Catherine  
a while back. Twice you've been  
found out of it. I don't think we  
should give IA something to gnaw on  
right now.

Nick turns his attention out the window.

EXT. HACIENDA ALLEY - DAY

Nick, Warrick, and Brass stare into the empty garage. Brass looks at him.

NICK  
I swear to you, Jim, there was a  
car in here, running, and there was  
someone inside. And the front door  
was not locked, it was wide open. I  
am not making this up!

BRASS  
No body, no crime. No car, no crime.

NICK  
Could you at least put out a  
missing persons on him?

Brass isn't entirely convinced.

BRASS  
I tell you what I'll do. I'll drop  
you off, then come back and have a  
chat with his neighbors. If anything  
looks out of place, even a little,  
I'll fill it out myself. Deal?

Nick nods.

BRASS  
Let's go. There's nothing else we  
can do here.

Nick doesn't move. Brass does feel sorry for him.

BRASS  
I'll be waiting in the car, Tex.

Brass closes the garage door and walks down the alley to his waiting car.

WARRICK  
We both saw it.

NICK  
Having your hallucination admit to  
seeing it doesn't make it feel any  
less crazy, Warrick.

Nick turns and starts walking toward Brass.

NICK  
Now to face the rental car company.  
My insurance is going to love me  
when this is all over.

Warrick pats his shoulder, sympathizing with his human counterpart.

INT. SAVERS CAR RENTAL - DAY

Nick walks in and stops at the counter. Customer service rep, **KATRINA**, looks away from her work with a welcoming smile.

NICK  
Hi...  
(reads her name tag)  
Katrina. I had an accident with my car.

Her smile vanishes

KATRINA  
What kind of accident?

NICK  
It's wrapped around a telephone  
pole. The tow truck probably got  
here a little bit ago with it. I  
guess I need to fill out something  
and rent another one. It was through  
my insurance while my vehicle is  
being repaired.

KATRINA  
Name?

NICK  
Nicholas Stokes.

She taps away at the computer and looks very confused.

KATRINA  
Sir, your car wasn't returned damaged.

NICK  
You must have me confused with  
someone else. It would have been  
brought in a few hours ago and  
completely trashed.

Warrick appears behind him.

KATRINA  
No, sir, it was returned this  
morning, and in good condition.

WARRICK  
Something hinky is going on here.

NICK  
I was driving it this morning and  
when I last saw it, that car was in  
anything but good condition.

She starts to argue, but then smiles.

KATRINA  
Wait here, sir.

She walks off before he can argue. He watches her go to a desk at the back. Katrick is sitting at it, wearing another disguise. The two talk, then they come back to the front desk. Nick stares at him.

KATRICK  
I'm Steve, the manager. How can I  
help you?

NICK  
Have we met before? You look  
familiar.

KATRICK  
Perhaps we met when you picked up  
your car. Katrina tells me that we  
have an issue.

NICK  
The issue is I ran my car into a  
telephone pole yesterday and I need  
to rent another. Why does she think  
I returned it this morning?

KATRICK  
We're showing you returned your car  
this morning undamaged.

NICK  
I woke up in it and it was wrecked. How  
could I have returned it at all?

KATRICK  
If you woke up in a wrecked car,  
sir, it wasn't a Savers rental.  
You returned yours.

NICK  
No. I didn't return mine. I--

KATRICK  
Katrina said you needed to rent another?

NICK  
Yes, but--

KATRICK  
I'll take care of the paperwork  
right away. Katrina, bring up  
the Taurus. Wait here, sir.

WARRICK  
How did he get to be a manger?

The two leave before Nick can argue.

WARRICK  
Welcome to the Twilight Zone.  
Reality and customer service have  
both been checked at the door.

NICK  
What the hell is going on?

Human and hallucination are both baffled.

I/E. SAVERS CAR RENTAL - DAY

Nick drives slowly down the streets of Shell Beach community. The houses here are expensive. The cars in their driveways are expensive. The front yards are perfectly manicured.

NICK  
1634 Marina.

Nick slows to a stop in front of the house.

EXT. 1634 MARINA - DAY

Nick walks up to the front door. As he reaches out to tap the doorbell Warrick appears next to him. Warrick checks out the neighborhood while Nick waits. The door opens and Nate Hutchins stares at him.

NICK  
Hi.

NATE  
Hello. What are you doing at my house?

His tone grabs Warrick's attention.

NICK  
I hadn't seen you for a few  
sessions and was making sure  
everything was alright.

NATE  
(terse)  
I'm fine.

WARRICK  
I don't think he appreciates your  
concern for his well-being Nick.  
Wrap this up and let's check on Miranda.

NICK  
I was just making sure. Sorry to  
have bothered you.

NATE  
How did you get my address? I'm unlisted.

That throws Nick.

WARRICK  
How did we find his address? We did  
the Internet thing and looked at  
four years of phone books.

NICK  
Have you always been unlisted?

WARRICK  
Yes.

NICK  
I'm sorry, Nate. This is probably a  
little creepy then. I'll go. Sorry  
to have bothered you.

Nick turns to leave.

NATE  
Did you check on Miranda and Hugh too?

Nick turns back. Warrick is standing right next to Nate, glaring at him. He looks down at Nick.

WARRICK  
Just go. He's been acting funny  
since we got here. He's probably  
Julia's little spy or something.

NICK  
Yeah. Hugh wasn't home. I'm off to  
visit Miranda next.

NATE  
I'll join you. Let me lock up.

Nate goes back inside. Warrick walks down to Nick, both staring at the door.

WARRICK  
What was that?

Nick shrugs. He walks back to his car and gets in, unlocking the passenger door.

I/E. SAVERS CAR RENTAL - DAY

Warrick sits in the passenger seat. Nate comes out and trots up to the car, sitting right in the middle of Warrick.

What's left of Warrick vanishes and he reappears in the back seat, glaring at Nate. Nick almost laughs, but stops it. He starts the car and heads down the street.

WARRICK  
Why'd he want to go? Ask him.

NICK  
Why'd you want to go?

NATE  
I haven't seen them or your lately  
either. Not since Julia changed my  
days and times.

Nick doesn't respond to that.

NATE  
You talk more in the waiting room.

NICK  
I'm stressed. Have a lot on my mind  
right now.

NATE  
A policeman that's stressed? That's  
unheard of.

NICK  
Criminalist and I hope that was sarcasm.

NATE  
It was. So what don't you do that  
cops do?

NICK  
I don't arrest people, and they  
don't let me have handcuffs. Probably  
for the best, there's a few times I would  
have liked to have handcuffed a suspect.

NATE  
Do you just investigate murders and stuff?

NICK  
No. We investigate other stuff.

NATE  
Such as?

NICK  
Robbery, identity theft, embezzlement.

NATE  
Fraud?

Nick nods.

NATE  
Are people who commit fraud treated the  
same as those who killed someone?

NICK  
That's not my call. I just gather  
the evidence.

NATE  
You should question the morals  
behind that. It doesn't seem like  
they should be put in the same  
place as murderers and rapists.

WARRICK  
(angry)  
And why is that, Nate? You  
committing fraud? Nick, take this  
loser home and leave him there. He  
should not be on this ride, man.

Nick ignores them both.

EXT. 214 CHEYENNE AVENUE - DAY

Nick knocks on the front door. Nate stands to his left, Warrick on his right. Warrick has developed an obvious hatred for Nate.

NATE  
You've been knocking for three  
minutes. Are you always this persistent?

WARRICK  
You whine, know that? You are the  
world's biggest whiner. All you've  
done since we left your place is  
whine, whine, WHINE!

Nick pinches the bridge of his nose. This is what a father feels like with two bickering children.

NATE  
She's not home. Let's go.

WARRICK  
We know how to kill people and make them  
disappear. Let's just kill him.

Nick looks at Warrick, appalled by his hallucination's suggestion. Warrick smiles.

WARRICK  
No killing. Gotcha. How about duct  
tape over the mouth? That's doable,  
isn't it?

That makes Nick smile and look away. All three look at the door when it opens a crack. An **ELDERLY LADY** peaks from inside, looking at Nick, then Nate, and then, oddly, at Warrick.

NICK  
Hi, ma'am. I'm Nick Stokes with the  
-- a friend of Miranda's. Is she--

Nick's fast catch makes Nate look at him.

ELDERLY LADY  
She's not here.

She starts to close the door. He gently pushes it open.

NICK  
Do you know when she'll be back?

ELDERLY LADY  
She left two days ago and hasn't called.

She tries to close the door and he again pushes it back.

NICK  
Any idea where I might find her?

ELDERLY LADY  
She went to the lake with her contact.  
They were waiting for her there.

This lady sounds just like Miranda.

NICK  
Did she mention which lake?

ELDERLY LADY  
Mead. They only go to Mead.

NICK  
Does she have a car? Can you tell  
me what it looks like?

ELDERLY LADY  
It's blue.

The woman tries to close the door; Nick once again gently pushes it back.

NICK  
Ma'am, it's really important that I  
find her before they do. Please tell  
me about the car so I can find her  
before they take her.

ELDERLY LADY  
They're after her?

NICK  
I think so. I overheard someone  
at the table behind me today.  
They were talking about Miranda.

ELDERLY LADY  
(terrified)  
Oh no! No! It's light blue.

NICK  
Do you know what the license plates say?

ELDERLY LADY  
Tuto.

NICK  
Tuto, ma'am?

Warrick steps closer to the door. She gasps and slams it shut. They can hear the locks engage inside. Nick turns and heads back to the car with Nate and Warrick tailing him.

NATE  
Do you always do that? Play into  
them like that?

NICK  
Only if I have to.

NATE  
Don't you feel bad about doing it?

Nick walks around to the driver's side of his car, unlocking the doors. He looks over the top at Nate.

NICK  
Not if it saves and protects lives.

Nick gets in.

I/E. SAVERS CAR RENTAL - DAY

Nate gets in the car. Warrick leans in from the back seat so he can continue glaring at Nate.

NATE  
So how has stopping a forger ever  
saved and protected lives?

WARRICK AND NICK  
Is there something you're hiding or trying  
to tell me? Are you a forger?

NATE  
No. Just asking. Can we stop at a  
gas station? I need some water.

NICK  
Sure.

WARRICK  
Could we leave him there too? I  
need to get a good laugh in.

Nick rolls his lips together to keep from laughing.

FADE OUT.

END OF ACT FOUR


	5. Act Five

ACT FIVE

FADE IN:

EXT. LAKE MEAD PICNIC AREA #13 - DAY

The silence out here is almost unnerving. Across the gravel a bug slowly makes its way toward shade. The shade is provided by a light blue 80's model car. The car is a boxy model, made to transport, not for beauty.

A gold Saver's rental car pulls up. Nick and Nate get out. Nate is carrying a bottle in one hand, and is messing with what looks like a flavor pack. The license plate reads: TU0-T0E

NATE  
The crazy lady actually gave us the  
right license plate.

NICK  
Don't knock crazy people. They know  
more than you'd ever guess.

Nate nods. He adds the flavor packet and stuffs the wrapper in his pocket. As he and Nick approach the car he caps it and casually shakes it.

Nick tires all four doors, but they're locked. He looks around for the missing Miranda. He heads toward the lake. At the top of the hill he spots a woman floating face down in the water.

NICK  
Aw no. No, no, no.

Nick jogs down the embankment and goes into the water. He grabs an arm and pulls her to shore where Nate waits. He falls to his knees next to her, rolls her on her side and then onto her back.

Nick attempts CPR, but reality stops him. He leans back on his legs, letting his head fall back. Nick looks up at Nate. He offers his water to Nick.

Nick gets up and heads back up the hill. Nate doesn't follow right away. He his cell phone out of the car, dialing. He turns, watching Nate slowly walk up the hill and toward him. He turns his back on him.

BRASS (on PHONE)  
What's up, Nicky?

NICK  
Jim, I'm at picnic site thirteen at  
Lake Mead.  
There's a body here. Can you send  
some officers and a coroner?

BRASS  
Sure. What are you doing there?

NICK  
I was looking for Miranda. I found  
her in the lake.

Nick turns and it startles him a little to find Nate right behind him. He falls back a couple steps, staring at Nate's emotionless face. Warrick appears behind Nick -- that he's aware of but he doesn't take his eyes off Nate.

BRASS  
Okay. I'll be there shortly with them.

NICK  
Thanks.

Nick closes the phone.

NATE  
I can't express emotions.

What's Nick supposed to do with that?

NATE  
I liked Miranda. I'm sorry she's  
dead. You always seemed to treat  
her nice. You must have too.

NICK  
I did.

Nate turns and leans against the car. He tips the bottle, but he holds it so Nick wouldn't know if he was really taking a drink or not. Nick looks down at the body on the shore.

NATE  
Water?

Nick looks at him, and then the bottle he's holding out. He takes it but doesn't drink.

NATE  
You've been pretty angry the last  
few times you've left.

NICK  
I've never seen you there.

NATE  
I was there. But you were angry.  
I'm not surprised.

Nick drinks some water and hands it back. Nate screws the cap back on.

NICK  
Is she nice to you? Julia?

Nate looks at him.

NATE  
Yes. But then, I'm not you.

NICK  
What does that mean?

Nick turns to lean against the car and the world suddenly goes for a whirl around him. He reaches out to grab the door handle and his hand misses. He looks at Nate.

NICK  
You drugged me?

Nate looks at the bottle, then Nick.

NATE  
I'm willing to drug anyone for ten  
thousand,  
Nick. I guess that goes with having  
no emotions, doesn't it?

Nick reaches out to grab Nate and he moves away, letting Nick fall. An arm slithers around Nick's neck and pulls him back. It's meant to restrain him, not strangle him.

KATRICK  
Relax, Nick. It's better that way.

NICK  
Who are you? Why are you doing  
this to me?

The world becomes fuzzy as sleep creeps over him. He looks up and can see two faces over him. He can't make out any features.

KATRICK  
That's it, Nick. Relax. You'll go to  
sleep and won't even feel yourself drowned.

Nick tries to fight it but the drug is stronger. He falls asleep.

EXT. LAKE MEAD PICNIC AREA #13 - momeNTS LATER

Katrick, Nate, and a woman carry Nick to the lake. They toss him in, face down. His body floats a few feet from the shore and then rolls over onto his back. The three argue and finally Nate heads into the lake toward Nick.

Katrick pulls a gun from under his shirt and shoots Nate. Katrick and the woman drag Nate and Miranda's bodies to the boat hidden nearby.

They head for Nick, but the woman points out police cars in the distance. They head the boat in opposite direction.

By the time the police arrive, the current has pushed Nick's body out of sight, away from his would-be killers and help.

EXT. DESERT PALMS HOSPITAL - NIGHT

To establish

INT. DESERT PALMS - ER - NIGHT

Nick slowly comes around. He's wet and blankets are piled over his shivering body. The people standing nearby are blurry and talking in hushed voices.

CATHERINE  
Ian, he was in the water for at  
least twelve hours. Are you sure he'll  
be okay to leave when he wakes up?

Nick blinks, and can make out Catherine, Brass, and Doctor **IAN** Cooper.

IAN  
He wasn't hurt in any way and by a  
stroke of luck he ended up next to  
the boat house for most of the day.  
The water next to that building was  
like being in a warm bath. The hypothermia  
was just starting to set in when he  
was found. He's lucky, Catherine.  
Someone was watching out for Nick.

NICK  
Why am I in the hospital?

The three turn, as if they hadn't expected him to wake up at all.

BRASS  
You weren't at the picnic site you  
told me you were at. Your car was, but  
not you. A Park Ranger found you next  
to their boat house an hour ago.

IAN  
You almost overdosed on triazolam,  
Nick. How many pills did you take?

Nick sits up and starts to get off the bed. Catherine grabs his arm, pushing him back.

NICK  
I didn't take any.

CATHERINE  
Nick.

NICK  
I didn't take anything! I stopped  
taking those damned pills when I  
found out what they were!

Catherine glances at Brass. He reaches out, laying his hand on Nick's arm.

BRASS  
Okay. Okay, Nicky. We believe you.  
Ian wants you to get warmed up before  
he releases you so why don't you  
just relax. Okay?

Warrick appears between Brass and Catherine.

WARRICK  
Listen to him, Nicky. Relax.

Nick stares at him, not moving. Ian notices Nick's attention isn't on Catherine or Brass.

IAN  
What are you looking at, Nick?

Nick lays back.

BRASS  
Doc, did you want to tell me about  
the blood work?

Ian and Brass leave. Catherine leans against the bed.

CATHERINE  
Did you tell Jim about Warrick?

NICK  
I apparently talked to him when I  
was drugged, but he's never said  
or asked about it.

CATHERINE  
It's been a pretty rough couple  
weeks, hasn't it?

He solemnly nod. She pats him.

CATHERINE  
For both of you. How's he been  
through all this?

NICK  
Himself.

CATHERINE  
At least you've had some stability.  
Someone's ear to bend.

Nick closes his eyes, pressing out a couple tears. He turns his face into the pillow. She rubs his arm.

CATHERINE  
Jim said you were looking for some  
patients who were seeing Julia  
also, and you think something's  
happened to one, and another is  
dead. Tell me about that.

Nick opens his eyes.

NICK  
Yeah. I went to see Hugh before I  
wrecked the rental car. I--

CATHERINE  
Oh! We found something about that  
car, Nick. The rental place wasn't  
wrong. The car you were in wasn't  
theirs and it was registered to a  
company that doesn't exist.

He can't stop from crying.

CATHERINE  
That's good news.

NICK  
(hushed)  
I don't remember taking the rental  
back. And how'd I get that car? Where  
did it come from, Catherine? I don't  
even know what lake you guys found  
me in. I can't remember anything  
past picking up Nate at his house  
and going to see Miranda. Was it Lake  
Mead? The woman at her house said  
something about it, and then everything's  
just gone. What is wrong with me?  
Maybe I am taking all these drugs  
or maybe I am just crazy.

It breaks her heart to see him so upset. She leans over, laying a hand on the side of his neck.

CATHERINE  
You can't remember because there  
was so much triazolam in you that  
it should have killed you. But I  
don't think for a minute you intentionally  
overdosed, and I think there is  
something very, very fishy going on.  
I just don't know what, or why. But  
I'm going to figure it out. And you  
are not crazy. Understand me?

He nods, pulling it together. She gently pats his neck. She stands up when Brass comes back.

BRASS  
You'll be out of here in an hour.  
So, did you find the other two  
patients?

Nick nods.

BRASS  
Still have their addresses?

Nick slides off the bed and searches his jean pockets. He pulls out a soggy paper with addresses written on it. He unfolds it and is dealt another sucker punch.

CATHERINE  
What's wrong, Nick?

NICK  
There were three addresses on here  
before, now there's only two.

Catherine takes the paper and holds it up to the light. Nick sits on the edge of the bed, wrapping a dry blanket around himself.

CATHERINE  
I'm going to take this back with  
me. Can you find their houses  
without this?

Nick nods.

CATHERINE  
Wait with Jim, and don't give Ian a  
hard time. He's pulling a double and  
is in a bad mood. Okay?

He nods again. She leaves the two. Brass looks at Nick for a second and then sits down in a chair.

BRASS  
It's going to be a while on the  
paperwork. You know how it is.

Nick stares at the floor. Warrick stands close by, watching him.

BRASS  
So... Have you had time to follow  
the NCAA tournament?

That earns Brass a faint smile. Nick nods.

BRASS  
Who should I be putting my money on?

Nick thinks about the question before he answers. Warrick fades away when he starts talking.

I/E. BRASS' CAR - DAY

With Jim driving, Nick watches the houses pass. They're back in the expensive suburb of Shell Beach. He spots the house.

NICK  
That one. That's Nate's.

Jim parks the car and turns it off. He looks at Nick, who's watching the house.

BRASS  
Stay in the car, got it?

Nick nods.

BRASS  
Don't say yes and then disobey.  
Stay in the car.

Warrick leans forward, making a face at Brass.

WARRICK  
He gets it!

NICK  
I won't leave the car. I promise.

Brass gets out and walks up to the front door. Warrick and Nick watch him ring the door bell. A man opens the door -- it's not Nate. Brass and he talk for a minute, then Brass goes in.

Nick lays his head against the head rest, closing his eyes. He's asleep within minutes.

He jerks awake when the car comes to a sudden stop, and for a second is confused. The scenery has changed. They're no longer in Shell Beach and Brass is driving again.

BRASS  
You and Warrick were having a lively  
conversation about what's been  
happening. It was creeping me out.

Warrick leans forward, looking at Nick when he glances at him.

WARRICK  
He knows. Just tell him the truth.  
He'll be cool with it.

NICK  
Just a dream.

Brass isn't convinced but he doesn't press.

BRASS  
Okay. Well, I have really bad news  
about Nate's house.

NICK  
Let me guess. He doesn't know me  
and we've never met.

BRASS  
No one with the name Nate lives or  
works at that house, and they've  
had it since it was finished two  
years ago.

WaRRICK aND NICK  
We talked to him there, Jim. We  
picked him up from there. He sat in  
the car with us.

Brass stops at a red light and then stares at Nick.

BRASS  
We? We who?

NICK  
I mean, me. I talked to him.

BRASS  
Sorry, Tex. Let's go talk to Miranda.

Nick slouches in the seat, staring out the window.

NICK  
Forget it. Take me home. She probably  
doesn't exist either. You'll  
probably think I'm really crazy.

WARRICK  
Nick, I'm getting really tired of  
saying this. You are not crazy!

Brass suddenly pulls over and turns to stare at him. Nick doesn't know what to make of this, so he keeps quiet.

BRASS  
I don't believe for one second you  
got hyped up on drugs. That's not  
you. Ever. Me and everyone else believe  
that someone is after you. We don't  
know who or why yet, but we're going  
to find out and throw an entire law  
library at them. So as long as you're  
my partner, even for one day, you  
don't get to have pity trips, you  
don't give up, and no more talking  
about being crazy. Where's  
Miranda's house?

WARRICK  
You deserved that, Nick. Now grow  
up and help him.

NICK  
Go up to Rodeo and hang a left.

Brass pulls back into traffic. Nick turns his attention out the window. He glances at Warrick when he pushes his face in between the window and seat.

He makes a face and Nick smiles. Warrick chuckles, leaning back out of sight.

I/E. BRASS' CAR - DAY

Nick watches Jim and the old lady. Several times she tries to shut the door, but Jim pushes it back. She's agitated, but he keeps her talking.

WARRICK  
What do you think they're talking about?

NICK  
How crazy I am.

WARRICK  
Stop being such a dick about this.

Jim heads back to the car.

NICK  
Says the dead man who won't shut up.

Nick watches Brass get in. He starts the car, but doesn't pull away.

BRASS  
Bad news or really bad news?

NICK  
At this point, I don't think it matters.

BRASS  
That woman is Miranda Thornton.

NICK  
That woman is crazy.

Warrick slowly leans forward, staring at Nick. Nick mouths 'what?'

WARRICK  
Don't call her crazy. Maybe she's  
no more crazy than you are.

BRASS  
Well, her word may not be very trustworthy,  
but her driver's license is. I  
wrote down the number just to  
double check, but I'm pretty sure  
that's her.

NICK  
That isn't the Miranda Thornton I know.

BRASS  
I know.

Brass pulls onto the street.

BRASS  
I'm going to take you home. You get  
some sleep, and then come in tomorrow,  
and I'll sit you down with Archie.  
You two make me some composites and  
I'll put out a BOLO for them. Deal?

Nick nods.

INT. CATHERINE'S OFFICE - NIGHT

Ronnie Litre knocks softly on the doorframe, getting Catherine's attention. He walks in, handing her two plastic bags. One has Nick's note with the addresses -- now dry -- and another has a photocopied page from a handwritten report. At a glance, the writing on both looks similar. He also has a couple printouts of blown up letters and numbers.

RONNIE LITRE  
The addresses are a very, very good forgery.

Catherine is surprised by the opening statement.

CATHERINE  
Really? They look--

RONNIE LITRE  
--almost identical, I know, but  
that's why you brought them to me.  
I magnified them, and at first I  
thought they were both Nick's  
handwriting too. I--

CATHERINE  
I never said this was Nick's handwriting.

RONNIE LITRE  
I've been reading his case files  
for enough years to know his  
handwriting, Catherine.

She smiles, unable to dispute that fact.

RONNIE LITRE  
After digging, I finally found  
discrepancies here on his capital E  
and the numbers 2 and 5. There's  
hesitation marks. Then see this T?

Catherine nods.

RONNIE LITRE  
I've seen every subtle change there  
is in Nick's handwriting, from when  
he's mad, tired, or in a great mood.  
None of these match anything I've  
seen. This T is too straight, too...  
Forced. These are all slight imperfections,  
so subtle I had to really dig, so  
whoever wrote this either knows Nick's  
writing or is an outstanding forger.

CATHERINE  
Thank you, Ronnie. This will help.

RONNIE LITRE  
Is he okay?

CATHERINE  
Yes. Why?

RONNIE LITRE  
Why would someone forge an address  
in his hand? What were they doing that  
for? Did he go to these addresses yet?

Her phone saves her from answering.

CATHERINE  
I don't know enough to answer that,  
yet, Ronnie. Thank you.

She answers her phone and he leaves.

CATHERINE  
Willows.

Greg (on PHONE)  
Come to the garage. I've got  
something.

INT. CSI - GARAGE - NIGHT

Greg has overalls on and is at a computer running a comparison print. Behind him is Nick's rental car. It's on blocks and has been almost stripped. Catherine walks in, staring at the pieces.

CATHERINE  
Greg, when I said be thorough, I  
didn't mean quite this thorough.

GREG  
Be glad I was. I found a print on  
the bottom of the door in some grease.  
It wasn't Nick's or any of the  
employees at Savers Rental. Well,  
at least none that I could find.

Catherine looks at him.

CATHERINE  
There were employees you couldn't find?

GREG  
One. They said he was a manager that  
transferred from out of state and he  
worked for three days, then just  
never came to work. He gave an address  
and phone number to a restaurant across town.

CATHERINE  
Did they give you a description?

GREG  
Yeah. I didn't get any hits. But  
that's not what I called you for.

Greg reaches in a tray with containers and bags of trace, and picks up a capped plastic tube. Inside is a used three milliliter syringe. He hands her the tube.

GREG  
That could easily fit into the palm  
of a postman.

She looks up at him.

CATHERINE  
Wait... Which car is this? I thought  
you were taking the first rental  
car and Riley had the second one.

GREG  
That is the first one.

CATHERINE  
I thought we were told this car was  
detailed. Did they just happen to  
remember this?

Greg grins.

GREG  
Nope. This was in the wheel well in  
some mud. So I'd guess that wherever  
Nick was taken when they switched  
cars, there was mud. For all we  
know they injected him again and  
threw this, but mud kicked up in  
the wheel well and packed it in  
there. When they detailed the car,  
they didn't get in the wheel well, thankfully.

She hands the syringe back.

CATHERINE  
Is Nick still here working on composites?

Greg nods.

CATHERINE  
Ask him to make you one of this manager too.

He nods once, watching her leave.

INT. CSI - CORRIDOR

Catherine is passing the A/V lab and sees Archie and Nick working on a composite. Well, actually Nick is, Archie is playing with his cell phone. She stops, watching Nick. Warrick walks up beside her, watching him too.

It hits her how defenseless he is against whoever is out after him.

CATHERINE  
(whisper)  
Warrick... Watch his back.

Warrick looks down at her. She turns and walks away as she makes a call.

CATHERINE  
Jim? Are you in your office? I need  
you to do me a favor.

Warrick walks through the wall and stands next to Nick. Nick glances at him but says nothing.

INT. JULIA'S OFFICE - RECEPTION AREA - DAY

Brass walks into the office and stops at the desk, flashing his badge at Arlene.

BRASS  
I need to speak to Julia Green.

ARLENE  
She's with a client.

BRASS  
I'll wait.

ARLENE  
What's it regarding?

BRASS  
Well, I'm trying to figure out how  
a man who had no problems before he  
started seeing her is suddenly having  
all kinds of problems, and just how involved  
she is on a couple attempts on his life.

Arlene and Brass stare at each other. Arlene looks down and picks up her phone, punching a button.

ARLENE  
I'm sorry to bother you, Doctor  
Green. There's an officer here to  
speak to you.

Arlene hangs up.

ARLENE  
She'll be out in a minute.

Brass sits down and he no sooner opens a magazine when Julia charges out of her office. She stops in front of him.

JULIA  
What do you want?

BRASS  
I'm here to talk to you about Nick Stokes.

JULIA  
He missed his appointment today.  
I'm going to have to--

BRASS  
Yes, he did. His supervisors have  
asked him not to come until we've  
sorted out a few things. Starting  
with why you're treating him like  
you don't like him very much.

JULIA  
Is that what he told you?

BRASS  
No. I based that on some things  
you've done.

JULIA  
What did he claim I've done?

Brass digs out his notebook and flips to a page.

BRASS  
Let's see here. You prescribed him  
anti-psychotics, claiming they were  
to help him sleep. Mysteriously, those  
meds were mixed up, or so the pharmacist  
and you claim. You asked for him to  
release his session notes from his  
personal therapist, and when he refused,  
you demanded he be suspended  
without pay. Then there's this  
videotaping sessions without his permission?  
(looks up at her)  
Do you deny you did any of that?

She starts to reply and he smiles, motioning her to wait.

BRASS  
I'm going to ask you to think on  
that answer before giving it, because  
if you lie to me, well, I might think  
of a few charges here I could hold you on.

JULIA  
The anti-psychotics were for sleep.  
It's not my fault the pharmacy  
messed that up. I--

BRASS  
I hear you gave them to him without  
him asking. Why is that?

JULIA  
I wanted the notes so we could just  
get started on his therapy. I--

BRASS  
He was here for a psych eval, not  
therapy. I've had a couple in my  
time, and those psychiatrists never  
needed anything from a previous doctor.

JULIA  
I was being thorough.

Jim stands, putting his notebook away, and then looking her in the eye.

BRASS  
Funny, Doctor Green, you don't seem  
to be able to come with a lot of really  
good answers for anything you've  
done. Here's what I find interesting.  
Nick has been seeing a therapist for  
several years, and not once did she  
prescribe him drugs, videotape his  
sessions, or caused so much difficulty  
in his work or personal life.

JULIA  
Maybe she's not a very good therapist.

Brass smiles, then shakes his head.

BRASS  
I doubt that. What can you tell me  
about Nate Hutchins, Miranda Thornton,  
and Hugh Kallen?

JULIA  
Who?

BRASS  
They're patients of yours.

JULIA  
I don't have any patients by... Oh.  
You mean the patients Nick invented  
since he started here.

Brass is thrown a little.

BRASS  
I'm sorry?

JULIA  
He's been talking about them since  
we started our sessions. They don't  
exist. They never did.

BRASS  
I tell you what, let's take a look  
at a few of those tapes on days he  
saw them here.  
(pats notebook pocket)  
I have a list of dates. Let's see  
if they don't show up on them.

JULIA  
Those fall under patient  
confidentiality.

BRASS  
Oh. Oh, I see. So tell me, how was  
it wrong for Nick to deny you seeing  
his therapy notes? Don't those fall  
under patient confidentiality?

JULIA  
It was his choice not to release  
those to me.

BRASS  
His choice?

JULIA  
Yes.

BRASS  
So because he chose not to release  
them, that's why you asked for his  
suspension and tacked two, then three,  
then four weeks onto his psych  
eval. Because he chose?

JULIA  
Nick is a great danger to himself  
and others, officer. After three  
weeks, I don't need his session  
notes to determine that.

BRASS  
It's detective, doctor. I worked  
hard to get that title.

Anger flashes across her face.

JULIA  
You believe his hallucinations,  
don't you? Has he told you about the  
dead co-worker he talks to? And now  
he has you believing I have patients  
that I don't have. He isn't safe to  
be on his own anymore. I have no choice  
to have him committed.

BRASS  
There is nothing wrong with him and  
you know it.

JULIA  
He is a danger to himself and others.  
And now he's trying to make others  
believe his hallucinations and paranoia.  
For his own good, I have no choice.

Julia storms back into her office before Brass can rebuttal. He looks at Arlene. She quickly looks down, pretending to be busy. He walks over and she avoids eye contact with him.

BRASS  
Does Julia have patients by the  
name of Nate Hutchins, Miranda  
Thornton, and Hugh Kallen?

ARLENE  
I can't discuss anything with you.

He nods. He digs out a business card and sits it down in front of her. She looks up at him.

BRASS  
When you find your guilty conscience  
can't handle it anymore, give me a call.

He walks out of the office.

FADE OUT.

END OF ACT FIVE


	6. Act Six

ACT SIX

FADE IN:

INT. POST OFFICE LOBBY - DAY

Greg and Langston enter and find themselves at the back of a long line.

GREG  
Time to make some new friends.

Greg digs out his ID and holds it up as he pushes past people to the front. Langston follows, offering a smile to the people that turn to glare at them.

At the front the postwoman and her customer both stare at Greg. He puts his ID and the composite of the postman in front of the postal worker.

GREG  
Have you seen this man?

She shakes her head. At the same time Greg's phone rings. He ignores it.

GREG  
I need to speak to the manager then.

She leaves to get the manager.

INT. POST OFFICE PO BOXES - DAY

The post office **MANAGER** stands with Greg and Langston. He's staring at the composite, honestly trying to think if he's seen the man. He finally shakes his head and hands it back to Greg.

MANAGER  
I'm sorry. This isn't one of my people  
and I've never seen him before.

GREG  
Does this office service 1412  
Hacienda Avenue?

Greg's phone starts ringing. He silences it.

MANAGER  
Yeah.

GREG  
This man is impersonating a postman  
then. Has anyone reported someone  
posing as a postman in that area?

MANAGER  
No.

GREG  
Could you maybe show this to your  
workers and see if any of them  
recognize him?

Greg's phone starts ringing again. He has to silence it again. Langston's phone starts ringing. He leaves to take the call.

MANAGER  
Yeah. I can send it with the postman  
in that neighborhood too, see if  
anyone there has seen the guy.

GREG  
That would be a lot of help. Thank you.

Greg digs a business card out of a pocket and hands both it and the composite over.

MANAGER  
I'll call if I find out anything.

GREG  
Thanks again.

Greg leaves

EXT. POST OFFICE PARKING LOT - DAY

Greg finds Langston at their vehicle. He looks like he has or is about to vomit.

GREG  
What's going on?

LANGSTON  
Catherine was trying to get a hold  
of you. Julia was granted an involuntary  
court-ordered admission for Nick.

Greg stares at him.

INT. NICK'S HOUSE - DAY

Nick is in the kitchen putting dishes in the dishwasher. He looks up when the doorbell rings. He walks around the corner and opens it. On his doorstep is Catherine, and officers **JEREMY** Kemp and **ROGER** Drake. Immediately Warrick appears behind Nick.

WARRICK  
It's time.

Nick almost turns to him.

NICK  
What's going on?

Catherine starts to answer, chokes up and has to take a minute. She clears her throat.

CATHERINE  
Guys, give us a few minutes, will ya?

JEREMY  
I can give you five, then we have  
to go, Catherine.

They walk down the drive to the waiting patrol car. Catherine looks into Nick's eyes.

CATHERINE  
We... Julia was granted an emergency  
involuntary court-ordered admission  
on grounds you are a harm to yourself  
and others, and have refused to submit  
to treatment. I know you're friends  
with Roger and Jeremy, so I asked if  
they would take you to Northern Las  
Vegas Mental Institute.

Nick doesn't move. He's waiting for the laughter, the punch line -- things that are not coming. He realizes that when she reaches for his hand. He pulls back.

CATHERINE  
Nick, I promised them you would go  
without a fight. Don't make me a  
liar. Don't make this worse.

NICK  
Worse? WORSE!? You're not about to  
be locked away in a crazy house! She'll  
find a way to keep me there. She's  
always two steps ahead of me! She's  
probably behind everything that's  
been happening to me! She wants to  
destroy me!

CATHERINE  
You're acting paranoid, Nick. Stop it.

Catherine reaches out and he pulls back. She follows, cornering him. She puts her hands on the sides of his neck, holding his eyes.

NICK  
I won't go. I'm not going!

CATHERINE  
I swear to you on Lindsay's life  
that I will get you out of this. I  
will not stop until I do.

Nick starts crying as he slides to the floor. She kneels, holding him.

NICK  
I told you I was crazy.

CATHERINE  
No. You're not crazy, Nicky.

Warrick kneels down next to him.

WARRICK  
Nick, I need you to trust me like  
you've never trusted me before. I  
need you to give into this. Just go  
with them and hold on.

Nick looks at him.

NICK  
You died. I will never trust you!

Warrick shakes his head.

CATHERINE  
Look at me, Nick. Don't listen to him.

WARRICK  
Have I ever asked you to do something  
you couldn't do? Trust me. Just  
give into this.

A frightening calm comes over Nick.

NICK  
(exhausted)  
I'm so tired. Tired of pretending  
I'm sane. Tired of lying all the  
time. Tired of seeing someone who  
was my friend and now is my worst  
enemy. I give up.

CATHERINE  
Nick, don't give up on me. Be str--

NICK  
It's okay. You don't have to do  
anything, Catherine. I give up.

Nick climbs to his feet and walks out to the officers. Warrick stares.

CATHERINE  
(whisper)  
Why didn't you watch out for him,  
Warrick? You bastard!

She gets up and storms out, slamming the door behind her.

WARRICK  
I am.

INT. CSI - BREAK ROOM - NIGHT

Archie is sitting at the table eating a sandwich with lettuce on it. He's reading an article in a magazine. Hodges comes in and gets his lunch, joining him.

ARCHIE  
Quiet night.

HODGES  
I'm busy. You should help me.

Archie smirks. He has no intention of helping Hodges. The two look up when Wendy blows into the room.

WENDY  
What are you two doing? We don't  
have time to eat!

They stare at her.

WENDY  
You haven't heard?

ARCHIE  
Apparently not. What haven't we heard?

WENDY  
Julia committed Nick.

HODGES  
How?

WENDY  
She's a conniving witch that's  
wasting oxygen is how. Catherine  
and two officers picked him up an  
hour ago. We have to figure out  
what's going on with him. Come on.

Archie abandons his meal. Hodges watches them leave as he takes another bite of food. His eyes drift down to Archie's sandwich, particularly the lettuce. He suddenly bolts from the break room.

INT. CATHERINE'S OFFICE - NIGHT

Catherine is on the phone when Ecklie appears in her open doorway. He's dressed in sweats, a sweatshirt, and worn sneakers.

ECKLIE  
How in the hell did she get him committed?

Catherine motions him to wait.

CATHERINE  
I'm looking into it too, Greta.  
Conrad just got here, I'll show it  
to him, too. I'll call you back.

She hangs up and turns her attention to him.

CATHERINE  
Doctor Green somehow got an emergency  
involuntary court-ordered admission  
on grounds that Nick is an extreme  
danger to himself and others.

ECKLIE  
Who approved it?

Catherine picks up a folder and pulls out the judgement, looking at it.

CATHERINE  
It's signed by Judge Harper.

Ecklie snatches the paper away.

ECKLIE  
That's impossible! He's a Supreme  
Justice. He doesn't even handle  
committals.

Ecklie looks at the paper. Plain as day is the Judge's name in print and his signature. She holds her hand out for it but he doesn't hand it back.

CATHERINE  
Greta is looking into--

ECKLIE  
Was this faxed?

CATHERINE  
Yes. They usually are, Conrad.

He doesn't acknowledge her sarcasm. Instead he holds the paper against the light.

ECKLIE  
Who received the original? Was it  
delivered to the hospital?

CATHERINE  
I don't know. Why?

She stands up and joins him. He points out marks on the paper.

ECKLIE  
These dots shouldn't be here.

CATHERINE  
Could have happened in transmission.

ECKLIE  
Maybe, but this signature...

Ecklie lowers it, staring at the signature.

ECKLIE  
Something isn't right about it.  
Whatever Greta's working don't stop  
her. I'm going to go talk to Judge  
Harper.

He heads out the door.

CATHERINE  
Conrad, it's two in the morning!

He doesn't come back.

INT. CSI - LAB

Riley is working on a computer that's running multiple searches. She's looking at men who look similar, but don't match, the composite of Nate. The screen suddenly populates.

A Jane Doe has been found in Carter, California. She is the spitting image of Miranda, but in the article family have identified her as Miranda Estevez.

Riley tracks down a phone number and places a call. M.E. **HOWIE** answers on the third ring.

HOWIE  
Carter Crypt of Horrors. You kill  
'em, we roast 'em. Howie speaking.

Riley doesn't know whether she should laugh or take him serious.

RILEY  
Uhm... Hi. My name is Riley Adams.  
I'm with the Las Vegas Crime Lab. I  
was calling about a Jane Doe you  
recently identified as Miranda Estevez.

HOWIE  
Sorry, honey, she's been claimed.  
You'll have to find yourself  
another drowned girl.

Riley smiles, but she doesn't have time for jokes.

RILEY  
I'm curious if there were any signs  
of a struggle on the body? This is  
the M.E., isn't it?

HOWIE  
I am. There were. Bruises on her  
wrists and ankles. Were you just  
feeding me lucky guesses?

RILEY  
No. Was there water in her lungs?  
Was it consistent with the lake she  
was found in?

HOWIE  
Well, now, you've got some  
interesting questions there. I  
can't answer those questions, I  
just cut people open. But the lab  
guys downtown might know a thing or  
two. I take it you don't think this  
little girl was drown here?

RILEY  
No. Someone saw her body at Lake  
Mead, but when police arrived, it  
was gone. The picture in the newspaper  
matches our composite, though.

HOWIE  
That does ring a few peculiarities.  
The chief is in bed and gets real  
mean when I wake him. Let me have a  
chat with him when he comes in and  
I'll have him give you a ring. Good deal?

RILEY  
Yes. Thank you. Here's my number:  
702-555-6436.

HOWIE  
Right. Okay, young lady. You have  
yourself a good night and we'll see  
if we can't solve ourselves a  
couple cases in the morning.

Riley smiles but before she can reply, he hangs up. She goes back to her search for Nate.

INT. SUPREME JUSTICE HARPER'S RESIDENCE - NIGHT

The doorbell is being rung incessantly. Judge Hank **HARPER** comes out of his bedroom tying his robe shut and muttering curses. He passes his daughter's room as she steps out.

HARPER  
Go back to bed, honey.

He goes down the stairs and throws the front door open. Ecklie is waiting on the other side, he thrusts the faxed copy of the order into Harper's face and starts talking before the judge can.

ECKLIE  
Did you sign this, Hank? Because if  
you signed this, we are going to go  
rounds about it. Did you sign this?

Harper rips the paper from Ecklie, flicks on the foyer light and reads it. He looks up at Ecklie.

HARPER  
Who's Nicholas Parker Stokes?

ECKLIE  
One of my CSI.

HARPER  
Why would this Doctor... Doctor...

ECKLIE  
Doctor Julia Green.

HARPER  
Why's she want him committed?

ECKLIE  
I didn't come here to talk about  
who's doing what. If you signed it,  
I'm here to collect on a really big  
favor you owe me, and get Nick out. If  
you didn't sign it, I need you to  
verify that and I'm going after a  
psychiatrist's license tonight.  
Which do I need to do here?

HARPER  
Maybe this Nicholas belongs in the  
mental hospital.

ECKLIE  
Do I need to go tell Helen it's not  
me you go fishing with every other  
month? I'm sure your boyfriend  
wouldn't mind.

Harper looks over the top of the paper at Ecklie. He turns so he can see the paper better. He frowns at it.

HARPER  
The K isn't right.

ECKLIE  
What?

HARPER  
This isn't my K. I've heard you've  
been working every loophole for some  
CSI that tried to strike his  
supervisor. Is this the one?

ECKLIE  
They were both under duress and it  
was a huge misunderstanding on both  
their parts. I was there and saw it.

HARPER  
Must be a really good CSI if you're  
willing to blackmail me into  
getting him out.

ECKLIE  
There wouldn't be any blackmail  
involved if this is a forge, would there?

Harper hands the paper back.

HARPER  
This isn't my signature. I suppose  
now I need to go to the station and  
give you a writing sample?

ECKLIE  
Please.

HARPER  
Mm-hm. I have to go get dressed.  
I'll meet you there in a half hour.

ECKLIE  
Don't get lost, Hank.

Hank shuts the door in Ecklie's face.

INT. GRISSOM'S OLD OFFICE - NIGHT

Riley is working on a laptop at her desk. Greg comes in and sits down next to the desk.

GREG  
I heard you have something.

She hands him a thick folder and keeps working.

RILEY  
I found Miranda. She really does  
exist, but her last name is Estevez,  
not Thornton. According to this she  
was a patient at a home for mentally  
handicapped. She had a job assembling  
toys at a nearby factory and she was  
doing well. Then, one night, she just  
disappeared from the house. The other  
thing Nick got right is that she was  
a paranoid schizophrenic, but  
according to the interviews from the  
nurses at the home and her family, she  
wasn't as bad as he said when she  
was on her medicine.

GREG  
So when Nick saw her, she probably  
wasn't on the meds. But what was  
she doing in Las Vegas at Doctor  
Green's office.

RILEY  
That's a connection I haven't found  
yet. Any news on the postman?

GREG  
Nothing. God! We have a whole lot of dead ends.

RILEY  
Hey. We'll figure it out. Nick's  
depending on us to.

GREG  
I'm not giving up on him. Nothing's  
wrong with him.

She looks peculiarly at him.

RILEY  
I didn't say anything was wrong  
with him.

GREG  
I know. I just feel like everyone  
thinks there is. I'm feeling  
defensive, I guess.

RILEY  
We'll figure this out.

Greg gets up and goes over to his desk, opening his laptop. The two start working on leads, hoping for something.

INT. OFFICE CORRIDOR

Arlene walks down the hall, sifting through her keys. She reaches the door to Julia's office at the same time the psychiatrist opens it. Julia's loaded down with boxes and bags, and the women are surprised to see each other.

ARLENE  
What are you doing here this early?  
You never get in before eight.

JULIA  
I'm quitting. Cancel all the  
appointments and then you're free  
to go. Your last check will be  
mailed to you.

Julia tries to push past her, but Arlene stops her.

ARLENE  
You can't just quit like this and  
leave me hanging!

JULIA  
Yes. I can. That's a luxury I get  
as your boss.

Julia pushes past her. Arlene stares at her back. She turns and steps into the office.

INT. JULIA'S OFFICE - RECEPTION AREA - DAY

The room is bare. All the pictures, the plants, the magazines, office equipment except for the phone and a mouse, are gone. She has nothing left to do except walk away.

FADE OUT.

END OF ACT SIX


	7. Act Seven

ACT SEVEN

FADE IN:

INT. CSI - TOXOCOLOGY LAB - DAY

Mandy comes in, watching Henry carefully swab inside the syringe Greg found. He glances at her.

MANDY  
Any luck?

HENRY  
We'll know shortly. I take it we've  
had no hits on the prints they found  
in the vehicles.

She shakes her head. He clips off the swab in a tube and adds reagent. Henry shakes it, then puts the liquid in a vial and slips it into the mass spectrometer. He starts it, turning to her.

HENRY  
Going home for a bit?

MANDY  
No. Do you think Nick's crazy?

HENRY  
We all are to work this job.

MANDY  
Henry, I'm serious.

HENRY  
Crazy's such a limited word. Most  
people don't realize how many levels  
there are to it.

MANDY  
He talks to himself a lot. One day,  
I found him in the garage talking  
to someone like another person was  
there. He was all alone.

She glances back, as if she wants to make sure she hadn't been overheard.

MANDY  
I never told anyone. I didn't want  
him fired.

Henry leans toward her, making her look at him.

HENRY  
By that definition, Mandy, you'd be  
crazy too. I've caught you doing  
that several times.

She blushes.

MANDY  
I didn't think anyone noticed.

HENRY  
I read somewhere that talking to  
yourself actually helps your cognitive  
and reasoning skills?

MANDY  
Really?

HENRY  
Yeah. I guess you two are just more  
advanced than the rest of us.

She gives his arm a hug. The two glance at the mass spectrometer when it beeps. Henry turns around and prints out the results.

HENRY  
Oh, triazolam. We meet again. Gotta  
go talk to Catherine.

He heads out in search of Catherine.

INT. CSI - MAIN LAYOUT ROOM - DAY

The light table is loaded with case files and more sit in boxes around the room. Langston, Catherine, Greg, and Riley are poring over them. They're searching for anyone in Nick's past that might link to what's been happening to him.

Ecklie comes down the hall -- he hasn't changed clothes yet. He walks up to Catherine, slapping down two plastic evidence bags: one contains the faxed involuntary court-ordered admission, the other is a writing sample from Judge Harper.

ECKLIE  
Nick's out. I sent Jim to stay with  
him until we catch these two. Ron--

CATHERINE  
Brass is clear across town. You didn't  
leave him home alone, did you?

Ecklie smiles.

ECKLIE  
No, Catherine, I sent him somewhere  
safe. With Judge Harper's sample,  
Ronnie identified the order as a  
forgery. We're looking for someone  
who is very good at forgery, maybe  
someone who he put away.

Ecklie leaves before anyone can respond. Catherine looks at the three.

CATHERINE  
Start hunting down forgery charges.

The CSI sift through the files but one stands out to Catherine.

She picks up a photograph of Jeff Katrick and lays it between the composites of the postman and Saver's manager. She turns and puts them up on the lightboard.

CATHERINE  
Notice any similarities, guys?

The three look at the photograph and composites.

GREG  
That's the same guy. How... How  
would Nick have missed that?

Catherine refers to the case file.

CATHERINE  
He put this guy away seven years  
ago, and the guy was wearing wigs  
and makeup the two times Nick saw  
him. Nick put him away for forgery,  
theft through the sale of false documents,  
and impersonating a city official.  
His name is Jeff Katrick. Someone  
check to see if he's released.

Riley turns around to a computer and pulls up his record.

RILEY  
He was released six months ago, but  
there's an outstanding warrant. He's  
skipped probation since his release.

LANGSTON  
So this man has fallen off the map.  
Does anything in his file say he'd  
know anything about the drugs Nick's  
been exposed to?

Catherine flips through the pages. Riley turns to the computer, running a search.

CATHERINE  
No. He never even finished high school.

Riley finds something.

RILEY  
But Julia would. She married him  
nine years ago and never took his  
name. She's a registered nurse.  
She'd know her way around most drugs.

LANGSTON  
We checked her medical license. She  
had a doctorate in psychiatry.

No sooner does he say that when they all know what happened.

LANGSTON  
Correction, she had a forged  
doctrine in psychiatry that her  
husband most likely provided.

GREG  
But why get out of jail and go  
after Nick? He never did anything  
to her.

CATHERINE  
That's not true, Greg. Nick took a  
long time getting this guy to trust  
him and become friends. She probably  
hates everything there is about Nick.  
But even then, Nick never knew  
about the wife. None of us did.

LANGSTON  
That explains why she was being so  
unprofessional with him.

RILEY  
Which part? She hated him or she  
wasn't even a psychiatrist?

LANGSTON  
Both. We can have her arrested once  
we find her.

CATHERINE  
We could only arrest her for  
practicing medicine without a license.  
That would keep her in jail for a  
few years, if the judge doesn't just  
give her probation. And then her  
and her husband will just come after  
Nick again. If we want them to go to jail until Nick's old and crotchety,  
we need a smoking gun. It's in this  
evidence somewhere.

The three agree.

RILEY  
I'll keep searching for Nate  
and Hugh.

GREG  
I'll hit the DNA again.  
Might find something more.

LANGSTON  
Would you like me to go over trace and prints again?

Catherine nods. The three leave and she starts packing case files.

INT. CSI - TRACE - DAY

Hodges is anxiously waiting for results. The printer spits them out at the same time he sees Catherine walking by. He knocks on the window, waving her in. She steps inside the room.

CATHERINE  
I'm in a hurry, Hodges. If this is  
on another case, it can--

HODGES  
Greg gave me some moss that was  
found in Nick's pickup. I just got  
the results from it.

CATHERINE  
That was weeks ago. Why are you  
just running it?

HODGES  
He said it was low, low priority,  
and then I forgot all about it. But  
it's going to help us.

CATHERINE  
How?

HODGES  
It's Grimmia Americana. There are  
only three known populations worldwide:  
one in west Texas, one in Arizona,  
and the Newberry Mountains. So I went  
over the trace brought in from the  
rental car, the first one that was  
returned unscathed after Nick's second  
blackout. There was moss in it too,  
this time on the driver's side. Someone  
from that area has been in both vehicles.

CATHERINE  
Someone who would want Nick to look  
crazy, you mean.

HODGES  
Yes. Someone like that.

Catherine makes a phone call as she walks out.

CATHERINE  
Greg, start searching properties in  
either Julia or Katrick's name in the  
Newberry Mountains. And then get  
those properties to the officers.

INT. THE WALL - DAY

The Wall is a secret hideaway of the graveyard shift, is a room in the basement tucked away at the back of records.

It looks like a college frat house living room, and includes an ugly gold sectional along one wall and a very worn dark blue recliner.

There is old wooden table has been varnished to protect the chalk doodles on it. Warrick's sitting on the table, staring at the wall.

But the grandest, most significant decor, is the list of 'rules' the graveyard crew has amassed and written in chalk on the walls.

Nick lies on the sectional along the back wall. He's using a closed beer as a cold compress for his head.

BRASS (O.S.)  
I bet you'd feel better if you just  
drank it, Nick.

Nick looks up at him, then away. Brass sits down in a recliner, looking up at the rules.

BRASS  
Haven't been down here for a while.  
Doesn't look like anyone else has  
either. No new rules after 557.

He waits for a response but doesn't get one.

BRASS  
Hey, how is Warrick?

Nick doesn't answer.

WARRICK  
I told you he knows. Just tell him, Nick.

BRASS  
You talk to him often. Well, not as  
much as when you first came back. You  
two seem to be doing better about that.  
Working out the kinks, I guess.

Nick live with the burden of this secret anymore.

NICK  
He's dead and I see him all the time. I'm crazy.

BRASS  
Naw. You're not crazy Nick.

NICK  
Ecklie should have left me in the  
hospital. I'm sick and crazy.

Brass thinks that over. He shakes his head, looking at Nick.

BRASS  
I heard this story once about people  
who handle rattlesnakes. One group  
scratches themselves a little at a time  
with the snake's fangs, getting a  
little deeper and a little more  
venom in them. They're scared of  
what'll happen, scared to try living.  
Then this other group takes one big  
bite. Some of them die. The ones that  
don't, are stronger. Have you ever heard that?

Nick and Warrick stare at him.

WARRICK  
Has _he_ gone nuts?

BRASS  
You're a big bite survivor, Nicky.  
Life has dealt you some pretty big  
ones, but you've come back from them  
every time. You've gotten stronger  
each time, too, but this time around,  
you needed a little help. So we can't  
see your help. So what? If Warrick  
was telling you to rob some place,  
or kill someone, or do drugs, or  
gamble like he used to, and you did  
it, then I'd say you were crazy. But  
all I've seen him have you do is work  
the crime scene, be meticulous, do  
your job better than ever. That's  
not crazy. That's divine.

Nick looks at the rules.

NICK  
I think all The Wall Crew knows  
about him.

BRASS  
I think you're right.

NICK  
Think there's a rule for that?

Nick motions at the wall with his beer before he unscrews the cap. Brass laughs. He gets a beer from the refrigerator and settles back in the recliner.

BRASS  
We have time to think about it.  
Greg called, said he thinks he  
found the two. Pretty soon, you'll  
be safe again, Nicky.

NICK  
The two?

BRASS  
Julia and her husband, Jeff Katrick.

That surprises Nick.

NICK  
Jeff was a white collar criminal  
with no priors. I wouldn't have  
pegged him for any of this. And  
Julia? I didn't even consider her  
on my list of suspects.

BRASS  
That's why I'm the homicide  
detective, and you're the CSI. It's  
my job to distrust anyone who makes  
my sane friends look crazy.

Nick and Warrick smile.

BRASS  
Now... About that rule...

EXT. KATRICK'S CABIN - DAY

A Denali pulls up outside. Langston, Greg, and Riley get out. The place is brimming with police and an ambulance. A moving van sits right outside the front door.

They head for the front door as four officers escort Julia and Katrick out. Julia shoots them a scathing glare. Katrick tries to fight his way free. They pass the moving van, pausing to look at the half filled back.

LANGSTON  
We almost caught them too late.

Officer Powell comes to the door.

JEREMY  
You guys need to start in the basement.

INT. KATRICK'S CABIN – BASEMENT - DAY

Langston, Greg, and Riley descend steps lit from above into the black expanse of the basement. Langston sees the light switch on the wall and flicks it.

They find themselves immersed in the couple's obsession. Hundreds upon hundreds of surveillance photographs of Nick surround them. Mountains of newspaper clippings about him and his trials. Transcripts from his high school and college. Anything and everything to do with Nick.

GREG  
I think we found the smoking gun.

Riley pulls on gloves, walking over to a table. There's a map of Nevada laid out and a spot is circled. It's in the middle of nowhere.

RILEY  
What do you think this is? Another  
hide out?

GREG  
Could be anything.

Greg starts walking down one wall, trying to figure out where he should start photographing.

Langston spots a large canvas bag next to the table. He crouches down as he pulls on gloves and unzips it.

He finds rope, duct tape, two shovels and pick axes, gloves, and a small box. He opens the box and finds a 3 milliliter syringe inside and a bottle of modafinil.

LANGSTON  
I think that spot on the map is  
where they planned to bury Nick's  
body after they killed him with an  
overdose of modafinil.

The two gather around him, looking at the contents.

GREG  
That'll help prove Nick wasn't crazy  
or a drug addict. Should help get him  
through the real psych eval faster.

RILEY  
It's strange how comfortable I've become with him talking to Warrick. When I hear them talking in the next room I just smile.

Langston stands.

LANGSTON  
It made finding him at large crime scenes easier. Were the two of them that funny in real life, Greg?

Greg doesn't answer when Riley and Langston turn to him.

RILEY  
Were they?

GREG  
I don't know what you're talking about.

RILEY  
You don't really expect us to believe you don't know what we're talking about?

LANGSTON  
We've known for a while Nick is hallucinating, and it's your previous co-worker, Warrick, that he's seeing. Everyone on the graveyard shifts knows it, most of the officers too, but we've just chosen to keep it in the department.

Greg stares for a moment again.

GREG  
He's not crazy.

LANGSTON  
No. He's not. I'm going to get bags.

Langston heads up the stairs. Greg holds Riley's stare. She smiles.

RILEY  
I'll start photographing this end.

GREG  
I'm serious, Riley. He's not crazy.

RILEY  
I know. There's several he needs Warrick right now. But he's doing all the right things to banish him, and for now, it's enduring.

Greg returns her smile. She turns around and starts photographing. Greg heads for the other end to photograph.

FADE OUT.

THE END


End file.
